By Stephen Parkinson, Cláudia Pazos Alonso, T. F. Earle
This spouse quantity deals an creation to eu Portuguese literature for university-level readers. It comprises a chronological evaluation of Portuguese literature from the 12th century to the current day, via one of the most wonderful literary students of contemporary years, supplemented by way of a research of the heritage of translations of Portuguese literature, big essays targeted on significant authors, genres or classes, and a wide bibliography. It doesn't test an encyclopaedic assurance of Portuguese literature, yet offers crucial chronological and bibliographical info on all significant authors and genres, with extra huge remedy of key works and literary figures, and a selected specialize in the fashionable interval. it truly is unashamedly canonical instead of thematic in its exam of significant authors and classes, with out neglecting lady writers. during this manner it offers uncomplicated reference fabrics for college kids starting the research of Portuguese literature, and for a much wider viewers trying to find common or particular details. The editors have made a principled determination to exclude either Brazilian and African literature, which may now not were incorporated with adequate prominence or intensity, and insist separate remedy.
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Extra resources for A Companion to Portuguese Literature (Monografías A)
There are some insults, but they are very mild compared with what we find in CEM. Any kind of obscenity or open reference to sexuality is taboo. There is a simmering issue regarding this genre. 8 If they exist, these would be the earliest organised sequences of love songs in any medieval Romance language, but scholars have not yet reached a consensus on the issue. The cantigas de amor are male-voiced love lyric. 9 On the other hand, we find an extreme paucity of personae (almost always the man speaks to or about a woman) and of situations.
I’d bound them with gold And was waiting for you, My friend. This is a song of waiting, but note that the girl has washed her hair (a prenuptial rite also found in Sephardic songs) and bound it (an old Germanic custom denoting betrothal or marriage). The stags and fountains of Meogo have nearly come to symbolise the genre for many readers whose familiarity is restricted to anthologies, but in fact the stags occur only in Meogo and the fountains rarely outside his work. Nature symbolism, however important and influential it has been in the study of the genre, is found in less than 10% of the texts.
The ideas underlying Saudosismo were taken up by Fernando Pessoa (1888–1935) in the only book he published during his lifetime, Mensagem (Message). Pessoa, now recognised as one of the greatest European poets of the twentieth century, was the dominant figure of the Portuguese Modernist movement whose work was associated with the short-lived publication Orpheu (Orpheus). Pessoa created several heteronyms, alternative poetic selves who wrote very differently from one another. He was the artificer, the fingidor, who imitates God so that, by dividing his soul ‘into fragments and different people’, he can become both an artefact of eternity and a map of human finitude.
A Companion to Portuguese Literature (Monografías A) by Stephen Parkinson, Cláudia Pazos Alonso, T. F. Earle