Tânia Dias

Flora Süssekind

Casa de Rui Barbosa

do manuscrito ao hipertexto

A historiografia literária e as técnicas de escrita

Júlio Castañon Guimarães

Sobre Augusto de Campos

os cadernos, rascunhos e a poesia-em-vozes de Ana Cristina Cesar

Até segunda ordem não me risque nada

Em meio ao estilhaçamento do pacto social formulado na Constituição de 1988 e ao crescimento da intolerância, com a sedimentação de grupos neofascistas, a crítica literária e ensaísta Flora Süssekind analisa manifestações corais no Brasil neste seu livro, que reúne 21 ensaios. Orquestrando a sua produção das últimas três décadas, a autora oferece ao leitor análises originais de nomes canônicos como Carlos Drummond de Andrade, Paulo Leminski e Clarice Lispector e também investiga como artistas contemporâneos tão diversos quanto Nuno Ramos, Grace Passô, Lenora de Barros e Silviano Santiago estão atentos à tempestade em curso. Nada parece escapar ao desejo de Süssekind de flagrar e repensar o incômodo de uma época em que "é inútil apertar os ouvidos".

Coros, Contrários, Massa

A voz e a série

Carlito Azevedo

gêneros, mediaçòes e práticas da escrita

Vozes femininas

Paulo Henriques Britto

This is an extraordinarily imaginative attempt to analyze the relations between literature and technique in Brazil from the 1880s to the 1920s. The author suggests that in these relations we can see more clearly the shape of a period that is otherwise usually defined from a literary perspective as pre- or post- something or other, rather than in terms of its own characteristics. One such characteristic is the intense interaction with the new technologies then arising in Brazil, the beginning of the professionalization of writers, and a revision of the concept of literature, redefined as technique. The authors chief concern is to determine what is distinctive about the literary production of the period. Rather than focusing on literatures relations with visual art, with a rising social class, or with the sociopolitical divisions within the educated classes of Brazilian society, the author examines the crônica (a kind of journalistic essay), poetry, and fiction of these decades in terms of their encounter with a burgeoning technological and industrial landscape. This encounter is examined from two perspectives. The first is explicit representation: the portrayal in Brazilian literature of modern artifacts, new means of transformation and communication, and the newborn industries of advertising and commercial publication. The second perspective examines how these close contacts with the technological world came to shape cultural productionthat is, not how literature represents technique, but how literary technique changed as it incorporated procedures characteristic of photography, film, and poster art. This transformation was consistent and concurrent with significant changes taking place in the perceptions and sensibilities of the population of major Brazilian cities, a population increasingly attuned to images, the instant, and technology as all-powerful mediators of the urban landscape, time, and a subjectivity constantly under the threat of extinction.

Literature, Technique, and Modernization in Brazil

Cinematograph of Words

Flora Süssekind

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