Literary Impressionism

This study focuses on Vernacular poet Jibanananda Das's unique use of colour in his poetry to create images unique to Bengali Literature. The use of colour also makes his poems distinct as being a poet of Hemanta (Autumn), we find frequent use of grey, a shade traditionally associated with the season. A play of Light and Darkness makes some of his poems more of a painting/picture. Tagore had identified t this quality Chitra-rupamoy (like a picture) in his poem Mrityur Aage/Before Death. The play of sunlight on the grass and the moonlight in the meadows and trees echo certain tenets of Impressionism in art. Jibanananda names a few famous painters, but his literary notes /Dinlipi or motley collection of prose do not belie any fascination with painters. The unique similes and metaphors associated with colour make Jibanananda a poet who used this vehicle as a medium to create a new poetic consciousness.

Este trabalho analisa como o romance Coivara da memória, de Francisco J. C. Dantas, dialoga com o regionalismo literário. Inicialmente, apresenta-se uma breve reflexão introdutória sobre o regionalismo na literatura brasileira, seguida de uma discussão dos posicionamentos da crítica literária e do escritor acerca de sua filiação à tradição regionalista. A seguir, examina-se a articulação entre identidade, memória e região no romance, com base na percepção do protagonista sobre as relações familiares e as práticas sociais locais. Conclui-se que Dantas, por meio da rememoração de um personagem recluso, recupera símbolos do regionalismo, atualiza o trabalho com a matéria regional e renova a tradição literária brasileira.

FR "Joseph Malègue, entre réalisme intégral et impressionnisme. Les multiples éclats d’une oeuvre oubliée" est le premier travail exhaustif sur l’oeuvre et l’imaginaire d’un écrivain méconnu. Joseph Malègue (1876-1940) joua un rôle important dans le contexte littéraire, esthétique, philosophique et théologique de l’entre-deux-guerres. Cet ouvrage ambitionne d’éclairer son esthétique, située au croisement du réalisme intégral et de l’impressionnisme, en dialectique avec sa pensée. Le corpus étudié inclut plusieurs inédits : correspondances, carnets, brouillons… que la critique antérieure, focalisée surtout sur son premier roman, a négligés. L’analyse de la totalité de ses écrits redonne donc toute sa place à Joseph Malègue, auteur qui excelle à unir la rigueur philosophique, la tendresse à l’égard du sensible et l’élévation du spirituel.

EN "Joseph Malègue, Between Integral Realism and Impressionism: The Many Facets of a Forgotten Work" is the first comprehensive study of the work and imaginaire of a little-known writer. Joseph Malègue (1876–1940) played a significant role in the literary, aesthetic, philosophical, and theological landscape of the interwar period. This book seeks to shed light on his aesthetic approach, situated at the intersection of integral realism and impressionism, in constant dialogue with his thought. The corpus studied includes several unpublished materials - letters, notebooks, drafts - that earlier criticism, focused mainly on his first novel, overlooked. By analyzing the entirety of his writings, this work restores Joseph Malègue to his rightful place as an author who masterfully combines philosophical rigor, sensitivity to the tangible, and spiritual elevation.

This dissertation examines the modern, worldly dimensions of Henry James's literary practice evident across his criticism, nonfiction, and novelistic fiction, which James described to be his "various," comparative response to U.S. culture and society. Drawing upon contemporary critical turns to ethical and affective-oriented aesthetic modes of interpretation, I show that James's "various" literary practice expresses worldly and comparative thinking that opposes the private, Protestant-informed "business enterprise" society developing in the United States around the turn of the twentieth-century. In describing James to be an oppositional critic to American business enterprise, my dissertation contributes to ongoing interventions in Henry James studies that have reconstructed James to be a more historically-minded and politically-engaged thinker than asserted in canonical, twentieth-century formalist and New Critical approaches to James's literary work. My dissertation proceeds through readings of his late criticism in the Prefaces to the New York Edition, his three-volume autobiography, his mid-career essay "The Art of Fiction" (1884), and finally, to his first novelistic masterpiece at the outset of his career, The Portrait of a Lady (1881/1908). My dissertation's formal construction forefronts James's contributions as a literary critic, and I describe an oppositional, critical reading practice in his thought based upon ethical, aesthetic, and political modes of reading. James's practice as a critic, I argue, not only enables critics today to confront and challenge the ongoing contentious politics of interpretation in Henry James studies, but it allows readers to discern the critical and oppositional dimensions of his novelistic literary fiction, which I show to be particularly evident in The Portrait of a Lady. v In my reading of James's work, I suggest that a theoretical, critical orientation will help readers to understand better James's novelistic literary practice to be an articulation of a modern critical consciousness: to this end, I examine J. Hillis Miller's deconstructive "interpretive" approach to the Prefaces; I argue James's concept of literary art functions as a kind of "worldly" secular criticism in the sense that Edward Said articulated worldliness; I consider Raymond Williams's concept of "structures of feeling" as "emergent" ways of thinking in relation to James's claim for the novel as a generator of "interest" premised upon its representation of a "feeling" sensibility; I examine James's claims for the freedom of literary art as an anticipation of Jacques Derrida's characterization of writing as the purposeful occasioning of différance; and, I suggest an affinity between James's claims for the "exercise" of freedom in artistic creation and Michel Foucault's conception of an Enlightenment ethos of modernity premised upon aesthetic self-making. In my readings of James's critical, autobiographical, and fictional works in light of these selected works of criticism and theory, I aim to demonstrate that Henry James critics may comprehend a discernible Jamesian "text" that in toto expresses a new, modern way of thinking in American novelistic literary art that occasions difference from a business-dominated, theocratically-inclined, Protestant American culture. Despite the particular, historically-distinct discrepancies between these somewhat disparate theoretical orientations, I aim to demonstrate their value for revealing Henry James's commitment to the democratic conditions of a still-emergent form of modernity that he practices in novelistic literary art. As a result of formalist-oriented New Criticism and polemical Left criticism, James has typically been taken to be anything but a

This research paper examines the complexities of marriage and romantic relationships portrayed in Henry James's novel, "The Portrait of a Lady," focusing on the 19th-century societal norms and constraints that impact the characters' choices. The review utilizes a Realist and Psychoanalytic theoretical framework to understand better the characters' motivations and actions within the context of their profound psychological struggles. This research adopts a qualitative approach, using textual analysis and thematic coding of specific entries and interactions from the novel. By applying Realist theory, the review explores the portrayal of 19th-century society, its traditions, and social expectations regarding marriage and relationships. Furthermore, applying Psychoanalytic theory enables a deeper assessment of the characters' subconscious desires and psychological conflicts. Analyzing "The Portrait of a Lady" through a Realist lens reveals a faithful representation of 19th-century societal norms and their effects on characters' choices regarding love and marriage. The characters' interactions and concerns about wealth and social status epitomize the pragmatic considerations prevalent during this period. Additionally, the use of Psychoanalytic theory provides profound insights into the character's inner motivations and emotional complexities, shedding light on their struggles to reconcile personal desires with societal expectations. The research emphasizes how societal constraints frequently lead to marriages driven by financial interests rather than genuine love, resulting in the characters' conflicts and unfulfilled relationships. Through this interdisciplinary approach, the review offers a comprehensive exploration of the complex themes of love, marriage, and societal norms in "The Portrait of a Lady," contributing to a deeper understanding of human relationships in 19th-century literature.

Nos estudos literarios, sao complexas e as vezes mistificadoras as relacoes estabelecidas a partir de oposicoes como local e universal, periferia e centro, regional e nacional. Em geral, tais diferencas sao demarcadas a partir das correlacoes politicas e economicas. Neste artigo, estao em contraste duas obras bastante distintas em notoriedade literaria: Dona Guidinha do Poco, do brasileiro Manuel de Oliveira Paiva, e Madame Bovary, do frances Gustave Flaubert. Numa perspectiva formativa, recorreu-se a trabalhos que questionam a centralidade do desenvolvimento do Brasil no litoral, valorizando o lugar do sertao na Historia e na Literatura. As semelhancas e diferencas entre os romances tiveram em seu escopo teorico a concepcao de limiares criticos.

Não é pequena a rede de aprendizagem, colaborações e afetos que possibilitou esta dissertação. Começo com um agradecimento especial à professora Laura, pela orientação dedicada e decisiva nesta travessia. Por ordem cronológica de envolvimento direto com o trabalho, poderia seguir com um saludo ao "núcleo mexicano" de amigos: Karla Bañuelos Sáenz, que recomendou um livro de Daniel Sada em uma livraria de Guadalajara, Paloma Rodríguez, fantástica ao me enviar livros e ainda me acolher em sua casa durante alguns dias para a pesquisa na Cidade do México, e Abraham Vásquez, meu consultor para assuntos norteños. Minha gratidão ainda para Natalia Lara Trejo e Umberto Ribeiro (este um mexicano honorário), que me conseguiram algumas obras de difícil acesso. Atualmente, é impressionante a quantidade de material acessível pela internet (seria o caso de agradecer aos criadores da rede?). Ainda assim, muito do que se produz na academia ou em publicações jornalísticas sobre Sada não está disponível na rede, por isso agradeço imensamente aos pesquisadores que me enviaram material valioso, deles ou de terceiros:

This study aims to determine the function of space and how it is depicted in Oscar Wilde's (1854-1900) selected poems. Wilde is one of the important literary and cultural figures of the Victorian era. He criticized the traditional moral codes and values of the Victorian era in which he was born and rejected many Victorian poetic aspects. Wilde used characters and places of ancient Greek mythology in his poems and developed a poetic sensitivity that focused on the real places and characters of the city. The brothel, the prison and the streets of London are some of the places that he used in his poems. Within this framework, it can be said that Wilde is one of the leading poets who shaped the fin de siècle poetry. In this study, French thinker Henri Lefebvre's (1901-1991) theory of space is applied to discuss the function of space in Wilde's poetry. Lefebvre's book The Production of Space, published in 1974, was influential in the second half of the twentieth century as it examined the historical development of the concept of space and evaluated it politically. The analysis of the poems from Lefebvre's perspective will reveal Wilde's use of space in relation to the conflict between past and present, and the attitude of the individual who wants to escape from society.

O artigo apresenta a problematizacao de alguns topicos da Fenomenologia da Percepcao, especificamente de Merleau-Ponty e de topoanalistas que seguem tal corrente filosofica, no que se refere ao discurso literario e com especial enfase ao espaco narrativo. Interessa destacar o modo de analise desta categoria narrativa, considerando duas instâncias de percepcao: a das figuras ficcionais, narrador e personagens, e a do leitor. Portanto, na primeira parte, discute-se a percepcao dos modos de percepcao e tambem a projecao dessa percepcao no que se refere a leitura do texto literario. Na segunda parte, discorre-se sobre a hipotese de que o espaco da narrativa literaria e uma categoria que se constitui a partir das experiencias corporais mutaveis e modelizantes das figuras ficcionais. Desse modo, a analise fenomenologica do espaco restringe-se ao plano do enunciado da narrativa, ainda que faca determinadas consideracoes sobre o plano da enunciacao.

O estudo tem o objetivo investigar as relações entre literatura e pintura nas obras de Clarice Lispector e Virgínia Woolf. Trata-se de um estudo de literatura comparada com abordagem multidisciplinar, uma vez que compara literatura e pintura. A partir da imagem como ponto homólogo entre as duas artes, o estudo empreende procedimentos metodológicos de comparação apontando aproximações, distanciamentos entre os textos analisados em suas relações com a pintura.

Este artigo e o relato de uma experiencia de ensino de literatura com base no genero conto que foi realizada no âmbito do Ensino Fundamental. O objetivo geral foi o interesse em promover praticas de leitura literaria visando estimular o gosto pela literatura e pela leitura. Para isso, abordamos aspectos sobre a leitura, sua importância, o valor e caracteristicas do conto literario, bem como o poder que tem a literatura no conjunto das artes produzidas e apreciadas pela humanidade. Apresentamos algumas acoes que empreendemos durante a execucao de um projeto de Dissertacao de Mestrado desenvolvido por nos, em 2015, versando sobre a necessidade de ampliar o letramento literario dos alunos de ensino fundamental. A base teorica inclui Candido, Todorov, Cortazar, Cosson, Praxedes, Paulino e outros. A parte pratica foi executada na E.E. Juscelino Kubitschek, em Assu-RN. Nessa parte da pesquisa, detalhamos situacoes vivenciadas em sala de aula e analisamos criticamente as potencialidades, l...

Araba Sevdası, written by Recaizade Mahmut Ekrem and one of the most important novels in Ottoman-Turkish literature, criticises the "European snob type" who despises his own culture and desires everything Western. Based on Alphonse Daudet's impressions of his trip to Algeria in 1861, Tartarin of Tarascon criticises the "Provencal type of Southern France" who is overly fond of the exotic and looks quite comical in Eastern clothes. Both Daudet 's and Ekrem's protagonists are alienated from their own identities and are caricatured with their incompatible, ridiculous, and exaggerated aspects. Ekrem himself states that these two texts, which have parallel aspects, are similar to each other, especially in terms of style. This article argues that the stylistic similarities between the two texts are based on the methods and techniques of impressionist painters and that Ekrem exemplifies Daudet's impressionist style.

The short narrative, also known as short story, in the context of the Brazilian Late Modernism, is the object of study in this work. The short story possesses its own categorization, differentiating itself from other literary narratives in what theory commonly denominates "extension" or, according to Carlos Reis and Ana C. Lopes, a "modality of temporal variation of the narrative". All the elements that mark the diversity of this textual type in relation to the various narrative formssuch as brevity, constitutive simplicity, linearity, plot concentration, chronotopic concentration, dramatic density, thematic singularity, intensity, univocity and univalenceare somehow related to extension. The emphasis of the analysis and the interpretation of the time and space componentes in the formation of the chronotope are conceived, in this research, aiming the recognition of a pathos that may provide density to the modern short story brevity. The main sources of research in analysis and interpretation of short stories of Clarice Lispector, Osman Lins e Guimarães Rosa were based on specialized studies in literary theory and critics. Also those that studied the chronotope in the context of modernity, in the twentieth century, and philosophers and scholars of time and space, considering the narratives as focus.

Several scenarios of The American Scene are studied to emphasize the irreconcilable nature of performative and constative functions of language as a medium of aesthetic presentation, rendering impossible any attempt to reduce the text to a historico-political document, and underwriting on the contrary the ironic character of its discourse. This discursive irony is read as a counter-force to the aesthetic ideology that James sees installing itself in the United States as what he calls the “hotel-world,” a nihilist and spectacular mode of the American spirit.

Book synopsis: Featuring innovative research by emergent and established scholars, The Fin-de-Siecle Poem throws new light on the remarkable diversity of poetry produced at the close of the nineteenth century in England. Opening with a detailed preface that explains why literary historians have frequently underrated fin-de-siecle poetry, the collection shows how a strikingly rich body of lyrical and narrative poems anticipated many of the developments traditionally attributed to Modernism. Each chapter provides insights into the ways in which late-nineteenth-century poets represented their experiences of the city, their attitudes toward sexuality, their responses to empire, and their interest in religious belief. The eleven essays presented by editor Joseph Bristow pay renewed attention to the achievements of writers such as Oscar Wilde, John Davidson, Ernest Dowson, Lionel Johnson, and W. B. Yeats, who dominated the literary scene of the 1890s. This book also explores the lesser-kn...

Resumo A partir do esgotamento do modernisno e da idéia de Jacques Ranciére de que é o realismo que rompe com as regras da representação, o ensaio trabalha com as imagens do século XIX, principalmente as da segunda metade, para rever o que o modernismo havia deixado na sombra sob o nome de "acadêmico". As imagens da pintura realista, da fotografia e dos romances naturalistas ajudam a pensar as relações entre a construção de imagens e mitos da nação, assim como as relações entre a arte e o mundo, através da discussão sobre os sentidos de realismo e naturalismo. Palavras-chave imagem-pintura-fotografia-representação-realismo

I l volume raccoglie gli Atti del Seminario di studio dedicato al Mio Carso di Scipio Slataper tenutosi a Udine nel 2012, in occasione del centenario della pubblicazione, nel 1912, nei «Quaderni della Voce», proprio del Mio Carso, opera rappresentativa di quella letteratura triestina che agli inizi del Novecento da manifestazione periferica e marginale, e per di più attardata, della letteratura nazionale non solo colma il ritardo nei suoi confronti ma ne diviene addirittura l'avanguardia. Nei contributi qui presentati, opera di studiosi giovani e meno giovani, di ogni parte d'Italia

This thesis engages with affect theory in relation to the novels of Gyrðir Elíasson, arguing that Elíasson’s style and language allow for a production and perception of affects within the confines of a text. Its approach is divided into three parts. The first part chiefly investigates negative affects in relation to conceptions of childhood and children’s worldview. The second part explores affective writing in connection with life writing and opens for a conception of the novels in question as metafictional undertakings. The final part of the thesis dives into Elíasson’s language – particularly as it is manifested in his short stories – and examines how his language produces and calls forth affects as it engages with readers and invites them into its stories. The approach of the thesis is in accordance with theories on affective narratology where affects are seen not only as bodily feelings but also as embodied perceptions in readers’ journeys through a text. What it hopes to show is that, through an engagement with Elíasson’s texts, we may see how affects may be experienced as a literary phenomenon rather than simply an occurrence outside of language.

Este artigo tem por finalidade analisar a obra Água viva, de Clarice Lispector, enquanto representativo corpus de leitura na ampla produção literária da escritora brasileira. Assim, a escolha de Água viva decorre da constatação de que esta obra foi produzida já no momento de reconhecida maturidade da produção literária de Clarice, atingindo o ápice de seu particular projeto artístico, principalmente por fazer coincidir o encontro entre práticas artísticas dessemelhantes, como se verifica na análise da escritura poética e da produção plástico-visual, vistas em um mesmo esquadro ou disjuntivamente. Para tanto, o enfoque do trabalho baseia-se na análise semiodiscursiva procurando na intermidialidade, enquanto vertente dos estudos de Literatura Comparada, elos de intermediação entre esferas artísticas produtoras de sentidos frequentemente confluentes e/ou iridescentes. Valendo-se desta perspectiva, portanto, o trabalho explora produções de sentidos utilizados de uma escritura plurissign...

Though he was born in London, Ford reported that he would never regard that city as his own and dismissed the idea of having come 'back to London' when he did return, as if the English metropolis knew not him. Paris was linked to the ebb and flow of Ford's affects and emotions and to his artistic ventures. The ups and downs of the writer's mindscape inscribe the persistence of the Parisian city in the essays. Working from the premises of psychogeography, from Guy Debord to Will Self, this paper investigates Ford's Paris as an impressionist cityscape. Indeed, if the geography of Paris remains the same, the mental images change and Ford shows how impressions from childhood are superimposed on the adult's, with the Left Bank invariably standing for a whole continent. Invariants do persist across the years, such as the subjective image of the impassable cleft separating the Left Bank from the Quartier de l'Étoile, like two brain hemispheres. In the last resort, Paris is lived as a text, or palimpsest, affording a thorough artistic experience. Therefore this chapter attempts to read Ford's Paris through a kaleidoscope of his writings: Between St. Dennis and St. George, A Mirror to France and It Was the Nightingale, to show that the sense of space is deeply influenced by History in the troubled inter-war period.

viii complexities of Victorian religion, encouraged my research efforts, and allowed me to work out difficult approaches to the period and the material. Finally, I will never be able to adequately thank Dr. Tanya Caldwell, who is responsible for resurrecting this project. Dr. Caldwell stepped in when all seemed lost and assured me that I had something important to say. She offered unflagging support not only for the project but also for me and my personal wellbeing and helped smooth the way toward completion. The support of these three mentors, guides, scholars, colleagues, and friends always went above and what would normally be indicated, and if I have any confidence as a writer, I owe it to them.

In this paper I have attempted to explore the connections between "the visual" expression that is painting and "the verbal" that is literature, poetry to be particular in this case. The artist I have chosen is French Post-Impressionist Paul Cézanne (1839-1906) and the poet with whom I have drawn parallels with Cézanne's art is French urban poet and critic Charles Baudelaire (1821-1867). The associations between Cézanne (the visual) and Baudelaire (the verbal) are drawn in terms of subject matter chosen by both the poet and the painter and the innovative techniques employed by both as a quest for individual expression which necessitates their departure from traditional modes of artistic expression. Both, the artist and the poet, also share deep associations, in terms of the "overall effect" they wanted to achieve in their respective arts and, last but not least, their profound affinity to their roots that connects them even more profoundly. All these...

This study aims to determine the function of space and how it is depicted in Oscar Wilde's (1854-1900) selected poems. Wilde is one of the important literary and cultural figures of the Victorian era. He criticized the traditional moral codes and values of the Victorian era in which he was born and rejected many Victorian poetic aspects. Wilde used characters and places of ancient Greek mythology in his poems and developed a poetic sensitivity that focused on the real places and characters of the city. The brothel, the prison and the streets of London are some of the places that he used in his poems. Within this framework, it can be said that Wilde is one of the leading poets who shaped the fin de siècle poetry. In this study, French thinker Henri Lefebvre's (1901-1991) theory of space is applied to discuss the function of space in Wilde's poetry. Lefebvre's book The Production of Space, published in 1974, was influential in the second half of the twentieth century as it examined the historical development of the concept of space and evaluated it politically. The analysis of the poems from Lefebvre's perspective will reveal Wilde's use of space in relation to the conflict between past and present, and the attitude of the individual who wants to escape from society.

Keep your head up steady and straight, Though you're fainting under the weight! All the boys that you meet Will declare that you are sweet Men will wait outside on the mat, If you have that hat!-Ross and Greenbank, "Hats," from Our Miss Gibbs, Sur la robe, elle a un corps.-Poet Blaise Cendrars, After all, for whom do women dress? Isn't it men that women wish to please?-Designer Jean Patou, 1920s "I have been a mannequin. I have been. .. no, not what you think.. . ."-Jean Rhys, "Hunger," ovelist Jean Rhys (1890-1979) may be read as champion of the colonialist victim, as the writer who gave a voice to the madwoman in the attic, or even as a quintessential Parisian artiste of the twenties, drifting from café to café. But it is useful to consider her hard road to modernist style. The peculiar convergence of literary modernism and la mode has become a truism. Nevertheless Rhys, who worked as a chorus girl, artist's model, and live mannequin for high-fashion shops before turning to fiction, brought an intimate perspective very different from that of the theorists of modernity and fashion. Rhys's youthful experiences, and especially the convergence of sex and literature in her relationship with the famous modernist writer Ford Madox Ford, taught her that both clothing and language offer means through which desires are mediated between men and women. Both the Gaiety musical shows she performed in and her literary apprenticeship contributed to an aesthetic of "modeling for men," in which Rhys dressed, acted, and wrote in order to please-but also to strike back atthe male sex. This essay, then, examines the ways in which Jean Rhys developed her impressionist writing style, through which she described her life of modeling for men as an object for examination (while also divulging her own complicity in that life). For although she appears a classic example of the patronized female in literary modernism, Rhys also wrote about the

This thesis considers the portrayal of the female journalist in the works of Elizabeth Jordan and Henry James. In 1898, Jordan, a journalist and editor herself, published Tales of the City Room, a collection of interconnected short stories that depict a close and supportive community of female journalists. It is, overall, a positive portrayal of female journalists by a female journalist. James, on the other hand, uses the female journalists in The Portrait of a Lady, “Flickerbridge,” and “The Papers” to show his discomfort toward New Journalism and the New Woman of the late-nineteenth and early-twentieth centuries. These female journalist characters are virtually alone and are often painted in grotesque or hyperbolic strokes. Taken together, the works of Jordan and James reveal the wide range of opinions the public had about female journalists. Advisor: Melissa Homestea

This review-essay critically examines Michael Fried's 2018 study What Was Literary Impressionism (Harvard) and asks what light it can shed on the study of D. H. Lawrence, whom Fried considers briefly. Juxtaposing Fried's account of literary impressionism as depending on the constitutive repression of the visual field represented by pen and ink with the author's observations of Lawrence's interest in "blindness" enables a new account of Lawrence's literary style and its relation (or lack thereof) to the physical means of inscription.

Reflexão sobre o processo narrativo e a significação social do romance "São Bernardo" (1a. ed. 1934), de Graciliano Ramos, sob o prisma do impressionismo literário - publicada na antologia "Linguagem, discurso e cultura" (1a ed. 2022), organizada por Glória França e Fábio de Oliveira para a editora Pontes (Campinas, SP).

This article makes a brief study of the place occupied by Coelho Neto within the historiography of Brazilian literature, considering the succession of positive and negative receptions that the he had throughout his career as a writer and, through critical-theoretical studies, aims at clarifying how literary and extraliterary factors influenced the reading audience and the interpretations made regarding the writer's works. It was possible to conclude that, in different spheres, the interpretations made on Coelho Neto's works were conditioned by ideals to be reached and by the interest of discrediting the writer from Maranhão.

In this paper I have attempted to explore the connections between "the visual" expression that is painting and "the verbal" that is literature, poetry to be particular in this case. The artist I have chosen is French Post-Impressionist Paul Cézanne (1839-1906) and the poet with whom I have drawn parallels with Cézanne's art is French urban poet and critic Charles Baudelaire (1821-1867). The associations between Cézanne (the visual) and Baudelaire (the verbal) are drawn in terms of subject matter chosen by both the poet and the painter and the innovative techniques employed by both as a quest for individual expression which necessitates their departure from traditional modes of artistic expression. Both, the artist and the poet, also share deep associations, in terms of the "overall effect" they wanted to achieve in their respective arts and, last but not least, their profound affinity to their roots that connects them even more profoundly. All these...

O presente artigo parte de pressupostos teóricos desenvolvidos ao longo de minha dissertação de mestrado, intitulada “Do factual ao ficcional: memória, história, ficção e autobiografia nas Memórias de um sobrevivente, de Luiz Alberto Mendes”. Devido ao fato da obra estudada portar o vocábulo “memórias” em seu título, julgo ser pertinente uma investigação acerca de tal aspecto. Procuro, desse modo, identificar a maneira como o texto desse escritor se insere dentro desse contexto, como ele constrói o narrador que narra as memórias, como as memórias voluntária e involuntária, postuladas por Proust, encontram ressonância dentro de sua obra e, além disso, a maneira como o autor referido retém a memória. Palavras-chave: Luiz Alberto Mendes; memória; cárcere.

"Impressionismo” e “literatura” são termos que, o mais das vezes, não caminham juntos. Estamos acostumados – quiçá, anestesiados – pelas frequentes discussões sobre o impressionismo pictórico, e reconhecemos, sem muito custo, suas contribuições históricas e estéticas sem que consideremos seus possíveis contrapontos com o texto literário. Os textos aqui reunidos dão continuidade ao projeto encetado há seis anos no livro "Impressionismo e Literatura" (EDUFMA, 2017), e visam redefinir os limites teóricos e críticos do conceito de impressionismo literário. O presente livro amplia o horizonte do anterior, abrangendo o estudo de obras impressionistas brasileiras, inglesas, espanholas e japonesas. Ademais, em contínuo processo de ampliação, abrange também a contribuição de um pesquisador emérito estrangeiro e de um ficcionista premiado cuja produção tem íntima reverberação impressionista. Tal publicação não seria possível sem a parceria e o apoio do Programa de Pós-Graduação em Estudos de Literatura (PPGLIT/UFSCar) e do Programa de Pós-Graduação em Letras Bacabal (PPGLB/UFMA) - programas que, de maneira pioneira, incluíram em seu ementário disciplinas caras ao diálogo - ainda hoje inovador - entre impressionismo e literatura.

Clarice Lispector is a multifaceted writer, who excelled in narrative forms. Novels, short stories and chronicles are some of the modalities used by the skilled author. Based mainly on the considerations of Oliveira (2019) on art in the fiction of Clarice Lispector and the “pictorial description”, proposed by Louvel (2006), this article aims to present and analyze the presence of the arts in her stories, published in Todos os Contos (2016), organized by Benjamin Moser. The question that permeates the discussion is: how do the arts appear and how are they represented in Clarice Lispector's short stories? And how does it materialize in stylistic procedures? After analysing the selected corpus, we can say that Clarice Lispector uses procedures such as ekphrastic description, synesthesia and hypotypes to highlight the most varied artistic manifestations through countless references to music, dance, cinema, painting, sculpture, among others, to point that these elements are (co)adjuv...

RESUMO: Consideradas inclassifi cáveis pela crítica literária francesa, algumas obras de Pascal Quignard libertam-se das imposições de gênero para se situar nas fronteiras entre a prosa, a poesia, o romance, a narrativa, o ensaio e a música, formando narrativas híbridas que privilegiam o descontínuo e o inacabado. Desta forma, Les ombres errantes (2002), de Pascal Quignard, apresenta inúmeros fragmentos, compostos de pequenas notas, confi dências pessoais, anedotas, comentários sobre arte, política, economia, etc., que aproximam o passado ao presente por meio das refl exões de uma voz poética, a fi m de resgatar as sombras que a tradição cultural relegou em seu caminho. Em Les ombres errantes, a prosa e a poesia se mesclam em uma escritura híbrida, em que a história e a imaginação se entrecruzam no interior de um texto fragmentado. PALAVRAS-CHAVE: Literatura contemporânea. Literatura francesa. Narrativa híbrida. Pascal Quignard. Uma das características da literatura do fi nal do século XX é o rompimento das categorias de gênero em proveito do híbrido, do heterogêneo e do descontínuo, levando às últimas conseqüências uma tendência que se anunciava desde a crise do romance no início do século. A escritura contemporânea tende a situar-se em um espaço dissociado e genérico, onde circula livremente entre a fi cção, a autobiografi a, a biografi a, o ensaio, a prosa, a poesia, etc., além de promover o diálogo entre as várias formas artísticas-como a música, a pintura, o cinemae do pensamento, o que possibilita uma refl exão entre o literário, o retórico, o sócio-histórico, o antropológico, o psicanalítico, etc. Segundo Viart (2004), a escritura contemporânea coloca-se no espaço "entre-deux indécidable", em que

Um sopro de vida é um texto difícil, de origem incerta, de estrutura irregular e de classificação problemática, que ocupou, até agora, um lugar marginal na produção de Clarice Lispector. Frente à imensa popularidade de Água viva e de A hora da estrela (obras do mesmo período com temáticas e estruturas similares), este texto foi pouco reconhecido. No entanto, este projeto literário, embora inacabado, contém as últimas reflexões metalinguísticas de Clarice sobre o ato da escrita: um texto literário poético que comenta a produção de outro texto igualmente poético. Neste artigo apresento a problemática de sua origem e estrutura; avalio parte de sua fortuna crítica; desvendo questões de estrutura e gênero literário; e sugiro uma leitura dele como uma peculiar “ars poetica”.

Resumo Este artigo explora duas linhas contrastivas e complementares de representação da natureza em O guarani (1857), de José de Alencar, que são a paisagem e a natureza-morta, em especial esta última. Gênero que atinge seu clímax no século 17 nos Países Baixos, a natureza-morta passa ao primeiro plano da pintura ao valorizar características como a domesticidade, o apego ao detalhe e, sobretudo, a repressão do desejo, conforme apontam os estudos de Svetlana Alpers, Meyer Schapiro e Jacqueline Labbe. Do ponto de vista formal, o objeto representado necessita ser retirado de seu contexto original e inserido em uma nova teia de relações. Ora, todos esses aspectos estão presentes na descrição do quarto de Ceci no capítulo inicial, onde a atenção às “coisas mínimas” e às “miniaturas”, para retomarmos os termos de Araripe Jr., imprime tamanha força ao desejo que ele se irradia para todo o romance e se torna elemento central para movimentar sua engrenagem narrativa.

The objective of this work was to expose the partial result of the research on the relationship between Art and the literary production of Clarice Lispector. There is research that has dwelt on this theme, but the major focus was given to Literature; it is intended to give a greater accent to Art. Clarice is famous for her beauty; thus, she was portrayed by several painters, the most famous by Giorgio de Chirico. This was done in the period when she starts writing The Besieged City (1949), when she was in Italy at the end of the Second War. There is an influence of the visual arts in this work. In the 1960s, after her separation from the diplomat Maury Gurgel Valente, Lispector built a house in which her refinement and refined taste for art could be seen. Clarice also worked as a journalist. In the 1960s and 1970s, to balance her budget, she did countless interviews for the magazines Manchete and Fatos e Fotos: Gente, among which there were well-known names in the visual arts. Clarice also took up painting. Regarding her paintings, there are a total of 22 that are preserved and classified with the use of mixed technique. Most of them were painted between March and September 1975, closer to her death in 1977, and probably during the writing of Um Sopro de Vida (1978). Eighteen of these paintings are at Fundação Casa Rui Barbosa. The collection is composed of two more paintings that are at the Moreira Sales Institute, in Rio de Janeiro. There are also two paintings that the writer gave as gifts to her writer friends, Nélida Piñon and Autran Dourado.

La spugna è la mia anima. Omaggio a Piero Ceccucci nasce dall’affetto e dalla stima sinceri di molti colleghi italiani e stranieri che hanno accolto con entusiasmo l’idea di rendere omaggio all’amico e collega Piero Ceccucci e alla sua lunga carriera di professore universitario di Lingua e Letteratura Portoghese e Brasiliana presso varie Università italiane, quali Perugia, Milano, “Bocconi” di Milano, Genova e Firenze. Questo volume vuole essere un giusto riconoscimento all’impegno e alla dedizione che il Prof. Piero Ceccucci ha rivolto all’insegnamento della Lingua e della Letteratura Portoghese in Italia, ma anche dargli modo di ricordare, nel tempo, la gratitudine che l’Università di Firenze ha sentito nei suoi confronti e alla quale, ne siamo certi, resterà sempre legato.

Original English text of paper delivered at the symposium "Picasso e historia," Museo Picasso Málaga, October 2018 and published in Picasso e Historia, ed. José Lebrero Stals and Pepe Karmel. Málaga/Madrid: Museo Picasso Málaga; Editorial Machado, 2021, 83-99.

Resumo: O objetivo deste artigo é trazer à luz aspectos impressionistas presentes na composição do conto "As cores", narrativa que faz parte da coletânea Balbino, homem do mar, de Orígenes Lessa (1903-1986). Procuramos, com esta análise, salientar o traço poético da obra de Orígenes Lessa, marcada por uma linguagem polissêmica e caracterizada muitas vezes pela permanência de traços impressionistas. Palavras-chave: Impressionismo; linguagem poética; Orígenes Lessa. Abstract: The aim of this paper is to bring to light impressionists aspects in the composition of the tale "The colors", narrative that is parto of the collection Balbino, seaman, by Orígenes Lessa (1903-1986). Sought with this analysis, note the trace of the poetic works of Orígenes Lessa, marked by a polysemic language and often characterized by the permanence of impressionists traces. Introdução: incursões pelo Impressionismo O Impressionismo foi um dos principais movimentos da arte ocidental da segu...

Não é pequena a rede de aprendizagem, colaborações e afetos que possibilitou esta dissertação. Começo com um agradecimento especial à professora Laura, pela orientação dedicada e decisiva nesta travessia. Por ordem cronológica de envolvimento direto com o trabalho, poderia seguir com um saludo ao "núcleo mexicano" de amigos: Karla Bañuelos Sáenz, que recomendou um livro de Daniel Sada em uma livraria de Guadalajara, Paloma Rodríguez, fantástica ao me enviar livros e ainda me acolher em sua casa durante alguns dias para a pesquisa na Cidade do México, e Abraham Vásquez, meu consultor para assuntos norteños. Minha gratidão ainda para Natalia Lara Trejo e Umberto Ribeiro (este um mexicano honorário), que me conseguiram algumas obras de difícil acesso. Atualmente, é impressionante a quantidade de material acessível pela internet (seria o caso de agradecer aos criadores da rede?). Ainda assim, muito do que se produz na academia ou em publicações jornalísticas sobre Sada não está disponível na rede, por isso agradeço imensamente aos pesquisadores que me enviaram material valioso, deles ou de terceiros: