Usina de Letras
Usina de Letras
242 usuários online

Autor Titulo Nos textos

 

Artigos ( 62073 )

Cartas ( 21333)

Contos (13257)

Cordel (10446)

Cronicas (22535)

Discursos (3237)

Ensaios - (10302)

Erótico (13562)

Frases (50483)

Humor (20016)

Infantil (5407)

Infanto Juvenil (4744)

Letras de Música (5465)

Peça de Teatro (1376)

Poesias (140761)

Redação (3296)

Roteiro de Filme ou Novela (1062)

Teses / Monologos (2435)

Textos Jurídicos (1958)

Textos Religiosos/Sermões (6163)

LEGENDAS

( * )- Texto com Registro de Direito Autoral )

( ! )- Texto com Comentários

 

Nota Legal

Fale Conosco

 



Aguarde carregando ...
Artigos-->MANUEL BANDEIRA+CASSIANO RICARDO+POESIA CONCRETA -- 22/03/2007 - 10:29 (LUIZ CARLOS LESSA VINHOLES) Siga o Autor Destaque este autor Envie Outros Textos


MANUEL BANDEIRA + CASSIANO RICARDO + POESIA CONCRETA



L. C. Vinholes






Nota de 14/02/2007: O presente artigo foi publicado em japonês na revista ASA nº 2 (1966) da Associação para Estudo das Artes (ASA), criada em 1964, após a I Exposição Internacional de Poesia Concreta realizada no Sogetsu Kaikan de Tóquio (18 a 20.VI.1964), tendo como sócios fundadores Seiichi Niikuni (1925-1977), Yasuo Fujitomi, Toshihiko Shimizu, L. C. Vinholes. Seu objetivo foi mostrar aos poetas japoneses interessados na poesia de vanguarda no Brasil raízes do movimento concretista e o envolvimento de poetas consagrados com as novas idéias. Sua versão em inglês foi distribuída por ocasião das exposições no Canadá na Biblioteca Morisset e no Pavilhão Simard da Universidade de Ottawa (1983) e na Biblioteca Roberts da Universidade de Toronto (janeiro/1985). ASA publicou este artigo ilustrado com ilustrado com os poemas Rosa Tumultuada e Gagarin, de Manuel Bandeira e Cassiano Ricardo. Neste momento, a divulgação deste artigo na Usina de Letras, na versão em inglês, visa proporcionar também aos interessados no exterior em conhecer os movimentos de vanguarda da segunda metade do século XX, principalmente aos das novas gerações, dados relativos à aproximação e à troca de informações entre poetas do Brasil e do Japão.





Starting in 1922, the history of the movement of Brazilian modern poetry is commonly divided into three periods: the modernist, from 1922 to 1930; the post-modernist, from 1930 to 1959 and the new modernist, from 1950 to the present.



In 1922, the Semana de Arte Moderna (Week of Modern Art) was held in São Paulo, and was the most important event in the history of Brazilian literature and arts in the first half of the century.



Among the poets who took part in the modernist movement of Brazilian poetry are listed the names of Manuel Bandeira and Cassiano Ricardo.



MANUEL BANDEIRA



Manuel Carneiro de Souza Bandeira Filho is the full name of Manuel Bandeira, the well-know poet, born in 1886, in Recife city, the Capital of Pernambuco State. In 1889, when he was three years old, he moved to Rio de Janeiro with his family and, afterwards, to São Paulo, where he lived until 1892. In that year, he returned to Recife to start his studies. As soon as he entered the Faculty of Architecture, he was infected with tuberculosis which interrupted his studies. In 1913, he visited Switzerland for treatment of his health and he had the opportunity there of meeting Paul Eluard. It was during his stay in that country that he discovered his natural ability and vocation for literature.



His first book of poems As cinzas das horas (The ashes of the hours) was published in 1917 and is of a symbolic inspiration, but with a very clear influence of parnassianism. The same may be said about his Carnaval (Carnival-1919), his first work as a pioneer of the modern movement in poetry. In these two books he utilized his first experiments with free verse - experiments that he had started in 1912 after being influenced by the reading of the poems by Guy-Charles Cros and Mac-Fiona Leod.



In 1924, he wrote his O Ritmo Dissoluto (The dissolute rhythm), his first work as a creator of new solutions for a new poetry. After his participation in the Week of Modern Art he published Libertinagem (Licentiousness-1930); Estrêla da Manhã (Morning Star-1936) - in that year he was 50 years old -; Belo Belo (Fine fine-1948); Opus 10, 1952, and Estrêla da Tarde (Afternoon Star-1958).



Manuel Bandeira, a very interesting author of many essays about different subjects, is an active critic of literature and a translator into Portuguese of many European poets.



In 1962, the Brazilian Government, through the Brazilian Embassy in Lisbon, published an anthology of Brazilian concrete poetry with 28 works of 9 leading poets.



To the surprise of many readers, two works by Manuel Bandeira are included in this anthology together with those by August do Campos, Décio Pignatari, Haroldo de Campos, José Lino Grünewald, Marcelo Moura, Pedro Xisto, Ronaldo Azeredo and Wladimir Dias Pino.



The two concrete poems by Manuel Bandeira are listed in the index of the anthology as Rosa Tumultuada (Disturbed rose) and Azulejo (Dutch-tile).



CASSIANO RICARDO



Cassiano Ricardo Leite of just Cassiano Ricardo was born in São José dos Campos city in the State of São Paulo, on July 26, 1985, and studied law at the University of São Paulo and later in Rio de Janeiro in 1917.



His first work as a poet are post-romantics and he was one of the last to join the group of modernists. All his poems are always very original.



Among his most important works in the beginning of his career as one of the leading poets in Brazil, we may list the books Dentro da Noite (Inside the night-1915), written in a lyric and very sentimental style; A Flauta de Pã (Pan’s flute-1917), a representative work of his parnassianistic period; Vamos Caçar Papagaios (Let’s hunt parrots-1925), his first work of the modernistic and nationalistic phase; Sangue das Horas (Blood of the hours-1943); and, before this last one, he published in 1928 Martin Cererê, his first work full of the spirit of his interest in the real powers of Brazilian feelings and sentiments. Martin Cererê is his most read book with 11 editions. In 1947 he published the collection of poems Um Dia Depois do Outro (One day after the other), which surprised everyone with his new and fresh spirit. His most recent books of poems are A face Perdida (The lost face-1950); Meu caminho até ontem (My way till yesterday-1955); 25 Sonetos (25 sonnets-1956); O Arranha-céu de Vidro (The glass skyscraper-1955) that received the Paula Brito Prize-1956, given by Rio de Janeiro city. Four years later he presented Montanha Russa (Russian roller-coaster-1960) and Dificil manhã (Difficult morning-1960), the first one received the “Carmen Dolores Barbosa Prize” and the latter the Jabuti Prize, 1960.



He was one of the most active members of the Modernist movement started in 1922 and he took active part in the group Verde-Amarelo (Green and Yellow, the Brazilian national colors) and Anta, side by side with Plinio Salgado, Menotti Del Picchia, Raul Bopp and Cândido Mota Filho.



He was the first President of the Club of Poetry in São Paulo and he organized the first Poetry Course (1950) in Brazil. Many of his poems are translated into Spanish, Italian, French, Swedish, English, Hungarian, Dutch and Serb-Croatian.



His most recent book is Jeremias sem Chorar (Jeremy without crying), published in 1964, by the Livraria José Olympio Editora with an introduction dated November 1963. Jeremias sem Chorar is a collection of poems made with all the intentions of research, developing language possibilities in a very new and wide way, trying to give new life to words and expressions. Jeremias sem Chorar can be seen as “one poem, without parts, as a ball or sphere”.”It can be read from any starting point, as in an unspecified point on the surface of a sphere, which is at the same time, the beginning and/or the end of the sphere”.



From the book-poem Jeremias sem Chorar, we have chosen the work Gagarin and Translação (pages 114 and 125) as examples of concrete technique used by Cassiano Ricardo.



To commemorate the 40th anniversary of the Week of Modern Art Cassiano Ricardo wrote a very important essay under the title 22 and the Poetry of Today, in Brazil, meaning the movement of modern art (poetry) in 1922 and the concrete poetry movement of the 1960´s. In this essay he made a very detailed study of the affinities between the two most important movements of modern poetry in the Brazilian cultural history of this century. 22 and the Poetry of Today was published by the Brazilian Ministry of Education and Culture (1964).



Cassiano Ricardo is a modern poet, a poet of today, who creates his own solutions. In his poetry we may find “humility and innocence” (as Carlos Drummond de Andrade says), “the angel and the child” (as Oswaldo de Andrade says). For him to create, to research, is compared with a man going back to his childhood, all starting again, the experiences, using all that he works but in a different way, hoping to have new results and hope.



Taking a look at the history of the activities of these two poets, we may conclude that they are very important in the history of modern Brazilian poetry, that they had made many significant works before the concrete poetry movement started in São Paulo with Décio Pignatari and the Campos brothers; and, finally, we can conclude that they were interested and even influenced by the techniques, the experiments, the solutions of concrete poetry.



Concrete poetry, as a reality in the history of Brazilian poetry influenced not only a great number of young poets, but many others of the previous generation, as Manuel Bandeira and Cassiano Ricardo. I would like to remember the names of Pedro Xisto, Edgar Braga and Mario da Silva Brito, not as young as Décio Pignatari, Haroldo de Campos, Augusto de Campos, but nevertheless very active names in the list of the best Brazilian poets of today working in concrete poetry.



Sources:

1 - Poesia Concreta - Anthology - 1962 - Embassy of Brazil, Lisbon.

2 - Jeremias Sem-Chorar, Cassiano Ricardo, Livraria José Olympio Editions - vol N° 73 - 1964.

3 - O Visível e o Invisíbel (The visible and invisibel), by Cassiano Ricardo, Literary Supplement, nº 394, O Estado de São Paulo Newspaper, August 22, 1964.

 


Comentarios
O que você achou deste texto?     Nome:     Mail:    
Comente: 
Perfil do AutorSeguidores: 10Exibido 2756 vezesFale com o autor