scholarly journals POR TRÁS DA DISTOPIA: O ano de 1993, de José Saramago

2016 ◽  
Vol 12 (1) ◽  
Author(s):  
Quênia Regina Santos
Keyword(s):  
Long Poem ◽  
Coup D'etat ◽  
The World ◽  
Poetic Narrative ◽  
Democratic Experience ◽  
Jose Saramago ◽  
Narrative Poem

RESUMO: Este ensaio tem por objetivo analisar a obra O ano de 1993, de José Saramago, que busca na narrativa poética outra maneira de fazer conhecer sua visão do mundo após golpe de estado de abril de 1974. Por trás de um tratamento metafórico marcado pelo ilogismo, o poema narrativo de Saramago mostra o sentimento de submissão de um povo diante do opressor, defendendo o amor e a união na luta como a única forma de garantir a liberdade para qualquer povo, principalmente o português, representado no longo poema, que permanecia errante, preso, longe de uma vivência democrática em seu país, estimulando-o à rebelião a fim de resgatar a possibilidade de um futuro livre. PALAVRAS-CHAVE: Metáfora; Poder; Liberdade; Intelectual; Poesia. ABSTRACT: This essay aims to analyze the work O ano de 1993, by José Saramago, a poetic narrative that seeks another way to make known his view of the world after the coup d’état of April 1974. Thus, behind a metaphoric treatment marked by ilogism, the narrative poem by Saramago shows the feeling of submission of people who face oppressors, advocating love and union in the fight as the only way to guarantee freedom for all peoples, especially the Portuguese one, represented in the long poem, which was still wandering, imprisoned, far from a democratic experience in their country, encouraging them to rebellion in order to rescue the possibility of a free future. KEYWORDS: Metaphor; Power; Freedom; Intellectual; Poetry.

Patriots and Traitors

2020 ◽  
pp. 103-129
Author(s):  
Kevin M. Jones
Keyword(s):  
World War Ii ◽  
Military Intervention ◽  
World War ◽  
Coup D'etat ◽  
Political Consequences ◽  
The Public ◽  
The Social ◽  
The World ◽  
Political Persecution ◽  
Anticolonial Nationalism

This chapter argues that the rhetoric of “patriotism” and “treason” that dominated nationalist politics evolved in the public poetry surrounding two seminal events in modern Iraqi political history, the Bakr Sidqi coup d’état of October 1936 and the Rashid ʿAli movement of April 1941. The chapter documents the popularity of each movement and shows how partisan support for military intervention was shaped by the shared logic of anticolonial nationalism. It documents the social and political consequences that socialist and nationalist poets faced and examines how political persecution inspired the new socialist-nationalist alliance of the “national front” politics that would dominate opposition politics in the 1950s. The chapter also shows how the relaxation of state censorship of the Left during the World War II allowed leftist poets to articulate a new political vision that fused anticolonial nationalism and socialist internationalism.

scholarly journals O JORNAL COMO ELEMENTO DE TRANSFIGURAÇÃO DA HISTÓRIA EM O ANO DA MORTE DE RICARDO REIS DE SARAMAGO

2003 ◽  
Vol 60 ◽  
Author(s):  
Gerson Luiz Roani
Keyword(s):  
Authoritarian Regimes ◽  
European History ◽  
Daily Routine ◽  
The Novel ◽  
The World ◽  
History And Literature ◽  
Jose Saramago ◽  
The One ◽  
Radical Approach

Este artigo investiga o diálogo entre a História e a Literatura no romance O Ano da Morte de Ricardo Reis de José Saramago. Nessa obra, vislumbra-se uma atitude inovadora e radical de interlocução com a História, que não se limita a uma mera representação de acontecimentos do passado português. Saramago investe no jogo do fingimento pessoano, inventando para Ricardo Reis um cotidiano e uma queda na conturbada História européia de 1936, que o poeta modernista não poderia prever para o seu mais clássico heterônimo. O discurso ficcional assume uma função restauradora, preenchendo vazios, lacunas e os silêncios do discurso historiográfico. Nesse processo, um dos recursos romanescos utilizados para a transfiguração da História consiste na inserção, na trama narrativa, de textos jornalísticos de 1936, que focalizam a situação histórica portuguesa e européia, nesse ano crucial, em que se consolidaram os regimes totalitários de índole fascista. O aproveitamento desses fragmentos da imprensa portuguesa proporciona uma minuciosa recosntituição das circunstâncias sociais, políticas e históricas de Portugal, criando uma atmosfera cotidiana que bem poderia ser a experimentada por Ricardo Reis, em 1936. Abstract The purpose of this paper is to carry out research on History and Literature in the novel O ano da morte de Ricardo Reis (translated as The year of the death of Ricardo Reis) by Portuguese writer José Saramago. The work stands out by its new and radical approach of a dialogue with History, but which is not limited to a mere representation of Portuguese past events. In Saramagos novel, the latter is revisited through the fictional recreation of one of his heteronyms, Ricardo Reis. The author probes into Pessoa’s play of pretence, inventing a daily routine for Ricardo Reis and plunges into the 1936 disturbances of European History, which the modernist poet could not have foreseen for his most classic heteronym. By giving Ricardo Reis an existence within new fictional parameters, the novel questions the validity of the guiding motto of this fictional figure’s attitude, that is, wise is the one who is contented with the spectacle of the world, which means that at a time of overwhelming social, ideological and political turbulence, the absence of historical conscience is unacceptable. Fictional discourse assumes then a restorative function, filling empty spaces, gaps and silences of historiographic discourse. In this process, one of the novelistic resources used in the transfiguration of History consists of the insertion, within the narrative’s plot, of 1936 newspapers’ texts. These articles focus on the European and Portuguese historical situation in this crucial year when authoritarian regimes of fascist character were being consolidated. The utilization of these fragments of the Portuguese press offers a detailed reconstitution of Portugal’s historic, social and political circumstances, thus creating a quotidian atmosphere that Ricardo Reis would have experienced in 1936.

scholarly journals History and Poetry in William Shakespeare’s Lucrece

2012 ◽  
pp. 57
Author(s):  
Krystyna Kujawińska Courtney
Keyword(s):  
Essential Elements ◽  
Literary Texts ◽  
Historical Sources ◽  
Narrative Texts ◽  
Literary Source ◽  
Ab Urbe Condita ◽  
Poetic Narrative ◽  
Narrative Poem ◽  
Rape Of Lucrece ◽  
The Relationship

This essay demonstrates the interrelationship between the historical source (Livy, Ab Urbe Condita LVIII-LX) and the literary source (Ovid, Fasti, II. 721-852) present in the construction, or rather, in “the artistic scheme,” of Shakespeare’s Rape of Lucrece. The “Argument,” written in prose and the text of the narrative poem reveal Shakespeare’s synchronic engagement with both Clio and Calliope. The synergistic interaction between the two parts proves that Shakespeare either consciously or unconsciously joined the ongoing discussion on the interaction between history and poetry. Falling in line with the sixteenth-century debate on the credibility of historical sources, the reading of Lucrece encourages the reader to judge the so-called authenticity or actuality of past events as depicted in different genres of literary texts. In other words, as a two-part structure Shakespeare’s Lucrece invites the analysis of the relationship between history/historiography and poetry, in which one of the essential elements is the question of the process of interpreting both historical and poetic narrative texts and their use of language, style, form and literary genre.

scholarly journals THE REIGN OF ALEXANDER OBRENOVIĆ IN THE REFLECTION OF THE RUSSIAN PRESS

2019 ◽  
Vol 8 (4) ◽  
Author(s):  
Victor E. Tumanin ◽  
Marat Z. Galiullin ◽  
Denis R. Sharafutdinov
Keyword(s):  
Point Of View ◽  
Daily News ◽  
Coup D'etat ◽  
The Press ◽  
The World ◽  
Long Time ◽  
The Way

April 1, 1893, the sixteen-year-old King of Serbia, Alexander Obrenović, made a coup d'état [1]. On the direct instructions of his father, Milan Obrenović, who lived after his abdication in France, minor Alexander Obrenovićh arrested the regents J. Ristić, K. Protić and J. Belimarcović, sent ministers in prison, declared himself an adult and took power into his own hands. [2] The events of 1893 became a new stage in the difficult period of the development of the independent Serbian state at the turn of the 19th and 20th centuries; that period is of particular interest to researchers [3, 16, 17]. The events that the contemporaries called "the Serbian revolution" were discussed in the European press solely from the point of view of practical expediency, and therefore even the most cautious contemporaries were inclined to see the latent participation of Russian diplomacy in it. The English "Times" decided that the "act" of the king is "although not constitutional", but "natural" [4]. The representatives of the press in other European capitals (Berlin, Vienna and Paris newspapers) agreed with the opinion of the newspaper which sympathized with the liberation of Serbia from the "imaginary liberal terror" and the " bold move " of the king who put an end to the protracted crisis, the way out could not be peaceful, in their opinion [5]. It was not without curiosity: "Daily News" of Gladstone launched a malicious wickedness around the world calling the April events in Belgrade "a wedding gift to Knyaz Saxe-Coburg" [4]. The coup d'etat á la Alexandre de Serbie was a household name for a long time.

scholarly journals A manutenção da esperança na singularidade de uma escrita plural

1999 ◽  
Vol 19 (24) ◽  
pp. 23
Author(s):  
Izabel Margato
Keyword(s):  
The World ◽  
Jose Saramago

<p>A particular escrita de José Saramago, construída na pluralidade de outras linguagens e a forma como esse autor, através da literatura, recupera e apresenta a particular leitura que faz das linguagens do mundo, para com ela elaborara a sua <em>invenção do presente</em>.</p> The particular writing of Jose Saramago, constructed in the plurality of other voices. The form as this author, through literature, recoups and presents the particular reading that he makes of the languages of the world, with it elaborating its <em>invention of the presente</em>.

The Making of a Terrorist

2020 ◽  
Author(s):  
Jeff Horn
Keyword(s):  
French Revolution ◽  
Public Safety ◽  
Age Of Revolution ◽  
Coup D'etat ◽  
Napoleon Bonaparte ◽  
The World ◽  
Maximilien Robespierre ◽  
Government Authority ◽  
The Way

Alexandre Rousselin biography explores how the French Revolution inspired an educated Parisian to become a terrorist and then spent the next forty-five years dealing with the consequences of his choices. Alexandre Rousselin became the confidential secretary of Camille Desmoulins and Georges-Jacques Danton before undertaking two missions to Champagne as a commissioner for the Committee of Public Safety in the fall of 1793. His enthusiastic implementation of the Terror left him vulnerable to denunciation as a terrorist after the fall of his patrons. Sent before the Revolutionary Tribunal, he was acquitted, as part of political shift that brought down Maximilien Robespierre. Rousselin spent the next few years in and out of jail as he sought rehabilitation despite ongoing denunciations. The coup d’etat of Napoleon Bonaparte in 1799 made him an outsider. Rousselin had to find other means of earning a living and being useful. Acquiring a noble title, he helped to found the liberal standard-bearer Le Constitutionnel, the bestselling newspaper in the world in the 1820s, where he fought against censorship and for limitations on government authority paving the way for the Revolution of 1830. Although the newspaper made him rich and influential, he retired in 1838 to write history in order to avoid the consequences of his past as a terrorist. His biography explores the role of emotions and institutions across the Age of Revolution for the large generation of survivors of this exceptional trauma: Rousselin’s choices show how a revolutionary became a liberal.

The Killing of Cabral

2021 ◽  
pp. 187-202
Author(s):  
António Tomás
Keyword(s):  
Cape Verdean ◽  
Coup D'etat ◽  
The World

Having everything ready for the proclamation of Guinea’s independence, Cabral would not witness this moment. In January 1973, Cabral was tragically killed by his own men, as part of a coup against Cape Verdean leadership of PAIGC. The assassination of Cabral provoked commotion throughout the world. However, it did not prevented independence from taking place. Galvanized by the physical disappearance of Cabral, PAIGC fighters attacked Portuguese forces and proclaimed independence in September 1973. Disgruntled Portuguese military staged a successful coup d’état, known as the Carnation Revolution, that toppled Estado Novo.

Shifting International Security Norms

2017 ◽  
Vol 31 (2) ◽  
pp. 235-246
Author(s):  
Denise Garcia
Keyword(s):  
European Union ◽  
North Atlantic ◽  
International Security ◽  
The European Union ◽  
Coup D'etat ◽  
The North ◽  
The World ◽  
The Subject ◽  
Global Norms

The world is going through a crisis of the international liberal order, exemplified by a host of recent shocks: the invasion and annexation of Crimea by Russia; the transnational dimensions of conflicts such as in Syria; the United Kingdom's decision to exit the European Union; the attempted coup d’état in Turkey and its reversal toward autocracy; and the election and rise of non-universalist and illiberal governments as well as politicians who operate under the populist rubric in countries that are viewed as beacons of democracy and stability. These shocks have catalyzed two outcomes. First, the prevailing global norms that serve as the custodians of peace and security have been the subject of revived debate. Second, and relatedly, these shocks have prompted deep reflection on the role of institutions such as the European Union and the North Atlantic Treaty Organization (NATO), as well as the roles of the supposedly democratic members within those institutions.

scholarly journals The Exordium of Adébáyọ̀ Fálétí’s Poetry

2021 ◽  
Vol 3 (2) ◽  
pp. 1-10
Author(s):  
Adedotun Ogundeji
Keyword(s):  
Life Story ◽  
Bachelor's Degree ◽  
School Education ◽  
University Education ◽  
Long Poem ◽  
Original Source ◽  
Secondary School Education ◽  
Narrative Poems ◽  
Narrative Poem ◽  
The University

The background of Adébáyọ̀ Fálétí (1921 – 2017) was steeped in the Ọyọ̀ ́ Yorùbá culture. He had a princely connection to the throne of Ọyọ̀ ́ having been born by Dúrówadé Àyìnkẹ, a granddaughter of Prince Adé ́ ṣọ̀kàn, Bàbá Ìdódẹ, Aláàfin Àtìbà’s son, to Àkànbí Fálétí. Àkànbí Fálétí was a royal oral artist in the palace of Aláàfin Ṣiyanbọ́lá Oníkẹẹ̀ pé Ládìgbòlù (1911 – ́ 1944). He later practiced outside the palace, leading his own band, going about Ìlọrin and its environs and parts of Northern Yorùbáland. The late Pa David Adéníji of Ìwó, we reliably learnt, was one of his followers. Adébáyọ̀ Fálétí spent his early life in Ọyọ̀ ́ villages such as Àgbóóyè, Ọbanàǹkò and Kúrańgà (Ọlátúnji 1982a). Adébáyọ Fálétí learnt many Yorùbá tales and garnered other ̀ native wisdom from his father and other relations. Such relations include Jímọ̀ Ọládẹ̀jọ, who was adept in proverbs, and his childless aunt, an oríkì (charcterizational) poetry exponent. The western education he acquired and the Christianity he embraced were also part and parcel of his background. His primary school education was at Ọyọ̀ ́ (1939 – 1945), his secondary school education at Ìbàdàn Boys High school, Ìbàdàn, (1951 – 1955) and his University education at the University of Ìbàdàn (1965 – 1968). He took a bachelor’s degree in English with a subsidiary in French. There is no doubt that Adébáyọ̀ Fálétí would have been influenced by Yorùbá literary artists of his time, all of whom he studied in school. Among such Yorùbá literary precursors were A. K. Ajíṣafẹ, D. A. Ọbasá and D. ́ O. Fágúnwà. Adébáyọ Fálétí collected and transcribed oral poetic forms such ̀ as proverbs and oríkì following Obasá’s example before venturing into writing 110 Adedotun Ogundeji his own compositions. Though he had been writing before 1955, he did not come into the limelight until 1955, when his 719 lines long poem, “Ẹ̀dá Kò Láròpin” won the Festival of Arts award. This time may conveniently be considered the beginning of his poetic career. The poem also marked the direction which Adébáyọ̀ Fálétí’s important contributions to Yorùbá poetry was leaning. He adapted many traditional stories for his poetic compositions. There are 35 poems in the two collections of Adébáyọ̀ Fálétí’s Yorùbá poems (Ọlátúnjí 1984 b & 1984c), 13 in the first and 22 in the second. Adébáyọ̀ Fálétí’s poems, can conveniently be classified into two: the narrative and non-narrative. The narratives tell interesting stories, some of which are adapted from the Ifá corpus and other stories collected from his father, co-hunters and other sources. The non-narrative ones are made up of poetic discourses on various social and philosophical topics. There are eleven narrative poems in the two collections. The first contains ten, the second only one. It could therefore be safely concluded that the first is dedicated to narrative poems because only four of the thirteen poems in it are non-narrative. Since there is also only one narrative poem in the second, one could also assert that it is dedicated to non-narrative poems. Four of the eleven narrative poems, (‘Ẹ̀là Lọrọ̀ ’, ‘̀ Ṣàṣọrẹ’, ‘Alágbára Ilé àti Alágbára Oko’, and ‘Agbódóro ́ - gun’) are adapted from the Ifá corpus and there are strong evidences that ìjálá (Ogun poetry/hunter’s) is the original source of the story retold in ‘Adébímpé Ojẹ̀dòkun’. The poet was reported to have collected it from his father who informed him it was a true-life story (Ọlátúnjí 1982a). In our examination of the exordiums of Adébáyọ̀ Fálétí’s poems, we shall dwell more on his narrative poems than on his non-narrative poems and limit ourselves to the aforementioned two collections (Olatunji 1982b & 1982c).

Short Text: Experiment in Quantitative Analysis

2020 ◽  
pp. 116-126
Author(s):  
Vadim Andreyev
Keyword(s):  
Quantitative Analysis ◽  
Text Analysis ◽  
Emily Dickinson ◽  
Long Poem ◽  
Short Text ◽  
Limited Size ◽  
The World ◽  
American Poet ◽  
Quantitative Text Analysis ◽  
Different Levels

The method of quantitative text analysis is usually associated with vast corpora of text utilized to solve problems of attribution, dating, data mining, etc. The article is aimed to demonstrate that quantitative analysis can be used for the study of short pieces a few stanza long. The research deals with the 12 lines long poem «The name – of it – is Autumn» by Emily Dickinson, a famous American poet. The feature set is based on metaphorical models realized in the text, lexical units representing them, morphological classes of words, characteristics of syntax including verse syntax and rhythm. The conducted study has demonstrated that counting elements of text, which belong to different levels and aspects of verse text, makes it possible to reveal text inner structure, as well as the ways and the means used for the presentation of authorial metaphoric and spacial picture of the world. There is a positive correlation between the author’s use of semantic and linguistic means, whose frequency is also interrelated with the alteration of statics vs. dynamics ratio in the poetic world.The obtained data point at the possibility and necessity to apply the methodology of quantitative analysis even in the study of a limited size texts.

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