Showing papers on "Lyricism published in 2019"
TL;DR: In this paper, a secondary analysis of data collected across the 2016-2017 academic year to determine the impact on students' social and emotional well-being of a new hip-hop lyricism course was conducted.
Abstract: This study involved a secondary analysis of data collected across the 2016–2017 academic year to determine the impact on students’ social and emotional well-being of a new hip-hop lyricism course i...
14 citations
19 Dec 2019
TL;DR: In Middle Passages, Brathwaite's poetic discourse propels the reader through the landscape of a post-modern American society where the cultural achievements, despite the historical suffering of modern African American people, are regathered and offered through the poetic lens of re-memory as an American artifact of excelling cultural value as mentioned in this paper.
Abstract: In Middle Passages, Edward Kamau Brathwaite’s poetic discourse propels the reader through the landscape of a postmodern American society where the cultural achievements, despite the historical suffering of modern African American people, are regathered and offered through the poetic lens of re-memory as an American artifact of excelling cultural value. In this paper, Brathwaite’s poetic discourse joins that of Claudia Rankine, whose Don’t Let Me Be Lonely offers a contemporary poetic confrontation between the American media’s distillation of history and the poetic re-memory of those events, through the eyes of the Black community. The collections maintain strong political overtones in their historicizing of the suffering that African peoples have endured wherever they are in the black diaspora. Read together, they challenge the mythological depictions of mainstream America as a nation that embraces cultural difference, while upholding the need for continuing a discourse that contests mainstream representations of the status quo of the black American community.
3 citations
01 Jan 2019
TL;DR: The New Coach Museum as mentioned in this paper is an imposing building of more than 11,500 m2 located in Lisbon, between Avenida da India and Rua da Junqueira, which has the potential to contribute to the transformation of the city.
Abstract: In October, an imposing building of more than 11,500 m2 was opened in Lisbon, between Avenida da India and Rua da Junqueira, which has the potential to contribute to the transformation of the city: the New Coach Museum. According to the architect, Paulo Mendes da Rocha, the museum will host “the whole extraordinary lyricism associated with coaches, with (...) beautiful (...) Neptunes and angels and gilded figures,” and with that in mind, nothing has been left to chance in its design.
1 citations
21 Aug 2019
TL;DR: Goethe's extensive lyric work, from the “occasion” verses with which he greets his maternal grandparents in the New Year of 1757 until shortly before his death in March 1832, presents a surprisingly modern facet.
Abstract: This essay seeks to highlight some features of Johann Wolfgang von Goethe’s extensive lyric work, from the “occasion” verses with which he greets his maternal grandparents in the New Year of 1757 until shortly before his death in March 1832. Distinguished by a prolific interpenetration of styles, forms, motifs and also of various traditions of European lyricism, Goethe’s poetic work – endowed with extraordinary onomaturgical strength and inclined to consummate in the word an epiphany of the idea from the phenomenon – presents to us, in some more “prosaic” moments, a surprisingly modern facet. This “modernity” can also be pointed out in the West-eastern Divan cycle, inspired by the Persian poet Hafiz and first published in 1819, which integrates lyrical expression (the ghazals and other poems) and essayistic discourse (in “Notes and Studies for a Better Understanding of the West-Eastern Divan”) into the whole and cohesive unity. This cycle also manifests a fictional game of depersonalization and masking, which later reverberates in the great poets of impersonality and personae, such as Robert Browning, W.B. Yeats, and Fernando Pessoa.
1 citations
28 Jun 2019
TL;DR: In this article, the problematic relationship that Baudelaire's poetry establishes with music is analyzed, showing how the poet dramatizes the destructuring of traditional poetic language by adhering to a rhetoric of disharmony, dissonance and noise, without however surrendering to the complete failure of the poetic.
Abstract: This article proposes an analysis of the problematic relationship that Baudelaire’s poetry establishes with music. We intend to show how the poet dramatizes the destructuring of traditional poetic language by adhering to a rhetoric of disharmony, dissonance and noise, without however surrendering to the complete failure of the poetic. In this sense, the presence of noise within a nostalgic poetics of harmony occurs as an element of oximoric tension rather than as a definitive exit from the universe of poetry, ruled until the beginning of the twentieth century by the musical paradigm of lyricism.
01 Jan 2019
TL;DR: The authors provide an extensive survey of the contrasting strands in poetry since the 1970s, and a detailed contextualization of the work of Denis Roche, Emmanuel Hocquard, Olivier Cadiot, Anne Portugal, Pierre Alferi and Franck Leibovici.
Abstract: This chapter situates the study within the context of historiographical debates over the status of the lyric in French poetics. In the last four decades, the question of whether lyrical discourse has a future or whether it faces extinction has been at the center of many discussions of poetics. This has led poetry of the last four decades to be divided into the opposing tendencies of ‘new lyricism’ and ‘literality’. However, whatever the terms used to describe the French poetic field, this chapter demonstrates that such dichotomies are not, in themselves, always useful. The chapter provides an extensive survey of the contrasting strands in poetry since the 1970s, and a detailed contextualization of the work of Denis Roche, Emmanuel Hocquard, Olivier Cadiot, Anne Portugal, Pierre Alferi and Franck Leibovici. It then argues for the necessity of examining the way in which these poets negotiate, question and reconfigure the lyric, avoiding an overly simplistic designation of poets as either ‘for’ or ‘against’ the lyric.
18 Nov 2019
TL;DR: In this article, the Kaya Magan, a poem by Leopold Sedar Senghor, extracted from his collection Ethiopiques, has been studied for the first time.
Abstract: Lyricism is a form of expression that extends its empire to all arts. In literature, it was brought to its pinnacle by the romanticism that made it its line of strength. He has known a variety of fortunes since then. Assumed by some, vilified by others, it remains today still at the heart of the concerns of many critics. Our study proposes to study the lyric I in a poem by Leopold Sedar Senghor: the Kaya Magan, extracted from his collection Ethiopiques. It is a humble contribution to the many works devoted to this major figure of the Negro-African literature, mainly to those who have as a major axis the lyrical dimension. The proof once again that lyricism and commitment can be good housekeeping. It is a linguistic approach to self-writing that incorporates references to the socio-historical context.
01 Jan 2019
TL;DR: This article analyzed the lyrical contents of the rappers studied in this book that directly challenge mainstream hip-hop's sexism, homophobia, and classism while recollecting the memories of black LGBT artists, activists, and intellectuals who were buried in black history due to their sexuality.
Abstract: This Chapter analyses the lyrical contents of the rappers studied in this book that directly challenge mainstream hip-hop’s sexism, homophobia, and classism while recollecting the memories of black LGBT artists, activists, and intellectuals who were buried in black history due to their sexuality. With their particular styles of lyricism, not only do out rappers attempt to redeem these forgotten figures’ dignity and continue their legacy but they also seek to expand the orthodox perceptions of blackness, black history, and the relationship between gender and sexuality within the black community.
16 Jul 2019
TL;DR: In this paper, the authors analyze the poem Infibulation from the pernambucana writer Micheliny Verunschk and propose a new form of aestheticization that problematizes the notions of subjectivity and lyricism, through a new look in the light of new theories.
Abstract: The present article proposes to analyze the poem “Infibulation”, present in Geografia intima do deserto (2003), from the pernambucana writer Micheliny Verunschk. From the analysis of the poem, we discussed how intimacy is configured in the poetry of Micheliny, which manifests itself in a contrary way to the present configuration in the tradition, when returns to the outside, projecting the lyrical subject out of itself (COLLOT, 2013). In this way, the discussion of the not centralized lyrical subject that crosses other spaces, other objects is established and proposes a new form of aestheticization that problematizes the notions of subjectivity and lyricism, through a new look in the light of new theories. A poetry that opts for the exploration of language, the world and things and not the subject itself
09 Nov 2019
TL;DR: The authors discusses the interaction of Y. Smelyakov's poetry with mass consciousness and describes the major events of the poet's biography, as well as his evolution from a carefree lyrical hero into a confident author.
Abstract: The article discusses the interaction of Y. Smelyakov’s (1913–1972) poetry with mass consciousness and describes the major events of the poet’s biography. Milestones on his literary path have been reconstructed, as has his evolution from a carefree lyrical hero into a confident author. The analysis of Smelyakov’s poetry is supplemented with numerous references to everyday Soviet realia. Especially detailed are descriptions of his debut poems, but the author also takes into account the latest interpretation of the poet’s youthful years in the early 1930s. The context of 1920s–1970s Soviet literature is a pivotal element of the analysis. In particular, the author suggests mutual affinity of Smelyakov’s works with the genre of popular sentimental songs, the works of proletarian poets, and the Sixtiers’ poetry. The article recalls the polemics around Smelyakov’s work, especially in the years before the war in 1941 and in the post-Soviet era. Soviet critics often reproached Smelyakov for excessive lyricism, attention to mundane details, and sentimentalism.
TL;DR: In The Cave, the first of their two stage works, composer Steve Reich and video artist Beryl Korot attempt to shed new light, via an innovative multimedia installation, on the relationship between words and music, a central concern in opera.
Abstract: In The Cave, the first of their two stage works, composer Steve Reich and video artist Beryl Korot attempt to shed new light, via an innovative multimedia installation, on the relationship between words and music, a central concern in opera. While Reich appropriates speech melodies for musical purposes, Korot focuses on the graphic properties of alphabetic writing; both pay close attention to details of typography or intonation, which leads them to explore new modes of lyricism arising not from the characters’ subjective responses to the plot, but from the experience of language as such.
31 Dec 2019
TL;DR: In this paper, a brief study aims to follow the pathways and varieties of humour in the poetry of the contemporary Portuguese writer Adilia Lopes, which is very specific and, at first sight/reading, it is not the sort of poetry connected with beauty or tenderness.
Abstract: Adilia Through the Looking-Glass (Lyricism and Grotesque in Adilia Lopes’s Poetry)
This brief study aims to follow the pathways and varieties of humour in the poetry of the contemporary Portuguese writer Adilia Lopes. Her poetry is very specific and, at first sight/reading, it is not the sort of poetry connected with beauty or tenderness. The poetess herself speaks of her poetry as prosaic poetry or poetry of everyday life. The study shows that the poetry of Adilia Lopes has its side of beauty and tenderness, since it strips human life through black humour, but in a benevolent way, although we may not always want to see life portrayed like that and such descriptions may thus be far from pleasing us. Our analysis will follow the possibilities of creating grotesque situations and sensations of tenderness and horror likely to cause laughter and shiver at the same time. Our work is divided into parts according to how the poetess achieves the comic effect - banalization of the so-called great subjects: love, death, solitude, poetic anecdotes and the trivialization of mythical poems. In the analysis of the chosen poems, we intend to show that, despite being rather crude and sometimes even cruel, Adilia Lopes’s poetry possesses an unprecedented charm, very close to the poetic atmosphere in Alice in Wonderland. Both the characters in Alice and those in Adilia´s work reveal certain characteristics of the grotesque, but not without lyrical and fairytalistic counterparts.
01 Jan 2019
TL;DR: In this article, the authors present an undergraduate honors course that focuses on the cultural narrative constructed by female musicians working in popular music from the 1920s to the present day, and examine the impact these women and their music have had on issues involving civil rights, feminism, the counter culture, social injustices and war.
Abstract: “Issues in Popular Music: Women Who Rock” is an undergraduate honors course that focuses on the cultural narrative constructed by female musicians working in popular music from the 1920s to the present day. Students examine the impact these women and their music have had on issues involving civil rights, feminism, the counter culture, social injustices and war. With modules covering the development of various styles and genres, students’ exploration cuts across cultures and ethnicity as they analyze the rise and fall of girl groups, the dynamics of mixed gender groups, and the social lyricism of various songwriters. Wanting to design an open-ended research project that allowed students to expand their musical knowledge, I created the memoir project.
Journal Article•
TL;DR: In this article, the authors retrace a journey through contemporary narrative, highlighting intersections of existential content, mystical and mythical-poetic, and offer an enriching possibility of reading the book in constant movements between the misery of everyday life and the enlightening conscience that feeds the artistic practice.
Abstract: The article retraces a journey through contemporary narrative, highlighting intersections of existential content, mystical and mythical-poetic. The magic of language incites the reader by building the relationships of intersubjectivity that extend from the family unit to the social and by the spectral atmosphere that reaches periods of tension and lyricism. The mytho-tragic approach is another aspect that highlights a picture of animosity and inner restlessness of the protagonists. The analysis extends to the Greek ideology, taking up components of the tragic that offer an enriching possibility of reading the book in constant movements between the misery of everyday life and the enlightening conscience that feeds the artistic practice.
Keywords: Tragic. Myth and Literature. Valter Hugo Mae. Homens imprudentemente poeticos.
31 Jan 2019
TL;DR: Arinimal's poetry is full with the themes of love and optimism as discussed by the authors, and it has become one of the leading lights of the Kashmiri Hindu women who are the best examples of self-sacrifice and embodiments of love.
Abstract: The lyrics of Arnimal traverse the entire range of emotions, including protests, love, sorrow and weariness. She has succeeded in transferring her personal trials and tribulations into universal ones. In this way, Arnimal has become one of the leading lights of the Kashmiri Hindu women who are the best examples of self-sacrifice and embodiments of love. A cursory study of her life and lyrics is enough to establish the poetic genius and mastery of technique achieved by that unlettered woman who belonged to the dark age of Afghan rule in Kashmir in the eighteenth century and yet she stands as the leading light of the unhappy period of history in the life of Kashmiri Pandits, both men and women. The purpose of this paper is to highlight the life and main contributions of Arnimal in the development of Kashmiri literature in general and how Arnimal’s poetry was full with the themes of love and optimism. Citation: Abdul Majeed Dar (2019). Arnimal : The Kashmiri Ancient Poetess of Lyricism, love and Optimism. International Journal of Advanced Multidisciplinary Scientific Research (IJAMSR) ISSN:2581-4281, 2 (1), January, 2019, # Art.1122, pp 79-86 International Journal of Advanced Multidisciplinary Scientific Research (IJAMSR) ISSN:2581-4281 Volume 2, Issue 1, January, 2019 IJAMSR 2 (1) www.ijamsr.com CrossRef: https://doi.org/10.31426/ijamsr.2019.2.1.1122 IJAMSR 2(1) www.ijamsr.com January 2019 80 International Journal of Advanced Multidisciplinary Scientific Research (IJAMSR) ISSN:2581-4281 Munshi Bhawani Das kachroo, but before attaining the bloom of her youth, she was deserted by her poet husband for some unknown reasons. The separation from her husband proved painful and tormenting for Arnimal and her emotions were terribly stirred. As a result of this sorrow and unhappiness was born the most melodious poetry full of pathos and grief. Munshi Bhawani Das kachroo, a learned Persian scholar in the court of Jumma Khan, was the Afghan Governor of Kashmir from 1788 to 1792 AD. Arnimal was a talented, sensitive and sophisticated girl, deeply devoted to her husband. Apparently, she was quite happy in the new surroundings and had a carefree time throughout her childhood days before attaining adolescence. But just before flowering into full womanhood, she got a feeling that her husband was too preoccupied with his literary and other pursuits to pay proper attention to her. She tried hard to draw him towards her, but fate had planned it otherwise. Munshi Bhawani Das, for some unknown reasons ignored her, tortured her and tormented her. His husband who was an important person in the Darbar fell into bad company and deserted her. Due to this, Arinimaal’s heart broke and she became dejected and forlorn. Possibly due to this painful separation, she must have taken to poetry. Arinimal sang of love, beauty and sorrow. Her poetry speaks of agony, dejection, pathos and disappointments. Her poetry melts the people’s hearts. Through her poetry, one comes across how she loved her husband. After the separation, she returned to her parents’ house who were kind and sympathetic towards her. After some time, Bhawani Dass realized that he had been unkind to his wife. He decided to be with her again. He proceeded towards her village, and when he reached Palhalan, he saw that she was being carried for cremation. And it was too late. Arnimal as a Lyrical Poetess: Arnimal's lyrics are masterpieces of Kashmiri language. The word pictures of delicate sentiments drawn by her are so vivid, real and charming that very few Kashmiri poets have reached the standard set by her. Most of these lyrics have been set to music and are sung even now by Kashmiris. Arnimal lived during the tyrannical and barbaric rule of Afghans when girls for fear of being lifted away were married off before the onset of puberty. The social structures of that period were very iniquitous and discriminatory. The status of women was worse than what it was in the Mughal rule. Their life and living with in-laws was a woeful and ignominious saga. They were treated as lifeless commodities by a male-dominated society and were fraudulently posed as models of renouncement, patience, piety and love when actually they were subjected to untold oppression and exploitation and were ruthlessly traumatized and rejected. The importance of the love-lyrics written by Arnimal lies in this, that they reflect the sorrow, sufferings, passions and longings of common Pandit women of the valley of Kashmir. Lamenting the absence of her beloved husband, Shri Bhawani Das, Arnimal said : (Owing to the pangs of separation) my complexion "Which was like July jasmine Has assumed the pallor of the yellow rose O, when will he come to let me have A look at his beloved face!" International Journal of Advanced Multidisciplinary Scientific Research (IJAMSR) ISSN:2581-4281 Volume 2, Issue 1, January, 2019 IJAMSR 2 (1) www.ijamsr.com CrossRef: https://doi.org/10.31426/ijamsr.2019.2.1.1122 IJAMSR 2(1) www.ijamsr.com January 2019 81 International Journal of Advanced Multidisciplinary Scientific Research (IJAMSR) ISSN:2581-4281 The animal thinks that people, devoid of fine feelings and sensibilities, cracked jokes at her expense. She has become the object of taunts. But all this does not change her mind. The intensity of feelings made her complaints deeply touching. She continues to long for her beloved husband with great devotion and love. She says: I have filled cups on cups for love Go and cry out to him Across hillsides and meadows green I send him tender thoughts Like deer he roams the woods afar And leaves me here to grieve Go and cry out to him Arnimal's lyrics are musical; it has melodious music with its musical rhymes and ever-recurring refrains, its alliterations and its assonances that come most spontaneously from the depth of her heart. All her songs deal with human emotions and are intensely subjective. Arnimal uses images and settings most familiar to her. "Arnimal" for instance, literally interpreted, means in Kashmiri "the garland of Arni rose," the wild pale rose common in the country side. She weaves a delicate imagery out of her own name when she says: A summer jasmine I had bloomed But now have turned a yellow rose When will my love come unto me? All her songs have been set to music and their imagery and pathos are moving to the extreme. The music and pathos in the following lines are very touching: When will thy feet touch lay courtyard I will place them on my head, O come! For love I left my home and hearth And tore the veil, O come! Again she says May Love, my jasmine, I long for thee Come O come, I long for thee I plighted when young my troth to thee Why didst thou break thy plighted troth? O sweet, O dear, I long for thee Genuine love is abiding and perennial; it can never die or disappear; it knows neither dismay nor frustration. The sole desire of the lover is that the beloved may be happy wherever he is. The hope that both will be reunited sustains Arnimal through thick and thin. The thought of such future re-union gives her joy and courage to endure the mocks of friends and sneers of foes. She says : "My rivals are throwing taunts at me Since the beloved has ceased to talk to me Won't he come for a short while and show me His face, so that I should offer My arterial blood as sacrifice for his safety? The poetry of Arnimal is devoid of the mystic touch and of religious experiences. It speaks of the heart of the human soul. After separating from her husband, the spinning wheel became her constant companion and she composed her songs in tune with the sound of the revolving wheel. Its sound could not but remind her of the tragic story of her own life. She sang: International Journal of Advanced Multidisciplinary Scientific Research (IJAMSR) ISSN:2581-4281 Volume 2, Issue 1, January, 2019 IJAMSR 2 (1) www.ijamsr.com CrossRef: https://doi.org/10.31426/ijamsr.2019.2.1.1122 IJAMSR 2(1) www.ijamsr.com January 2019 82 International Journal of Advanced Multidisciplinary Scientific Research (IJAMSR) ISSN:2581-4281 Murmur not my spinning wheel, Thy straw-rings I will oil From under the sod, O Hyacinth, Raise thy stately form For look, the narcissus is waiting With cups of wine for you The jasmine will not bloom again When once it fades away Arnimal's songs are poignant in their pathos, helplessness and resignation to one's fate but there is no malice found anywhere in them. There is an undercurrent of quiet fortitude which is characteristic of the age-old suffering of a Kashmiri Pandit woman, especially when she is unhappily married or due to ill luck separated from her beloved husband. There seems to be little doubt that Arnimal, deserted and maltreated by her husband, lived at her father's home for long spells of time. In most of her songs, therefore, she expresses frustration. She always craved for the nearness of her husband. She pleaded him with all sweet things in life, but he always duped her. She pleads: I treated him to candy sweet He took my heart and I was duped Now he is gone, and I am made A laughing stock for an to see Will no one tell him what I feel? Let us arise at early dawn And seek my love On hills and mountains high I wait and wait expectantly, When will my love come unto me? Besides fortitude and resignation, these lyrics breathe a note of dissatisfaction if not revolt against the age-old custom which condemned the Hindu woman of Kashmir if she experienced unhappy marriage and unfaithful love. Thus her lyrics give voice to many voiceless Kashmiri women of her time and these lend the same musical and spontaneous voice to all such women who suffer silently in all ages. Composition of songs became a spontaneous mode of expression with Arnimal. Gradually she acquired mastery over words and invented a unique style of expression. Some of these lyrics have become classics in Kashmiri language. She surpasses some of the most talented English poets in the use of alliteration and imagery. Just
15 Oct 2019
TL;DR: This paper explored the recurrence among Brazilian poets of texts that refer to the practice of funeral eulogy, or that recover in a more or less explicit way the species tombeau, in dialogue with French poems of the late nineteenth century.
Abstract: The essay explores the recurrence among Brazilian poets of texts that refer to the practice of funeral eulogy, or that recover in a more or less explicit way the species tombeau, in dialogue with French poems of the late nineteenth century. Assuming, with Maulpoix, a primary collective character for the lyric poem (the root of lyricism based on the celebration), we analyze the commemorative discourse (high, laudatory, addressed) discernible in the poems approached as the bearer of something that is not solved in the expression of an “I”, but that seems to indicate a collective operation of constitution of audience, communication, contact, sharing. The poem, gesture of interlocution, is dedicated, in this sense, to an illustrious poet disappeared, but also dedicates itself to the establishment of a network of affinities and conceptions of writing that presuppose the establishment of a community.
01 Jan 2019
TL;DR: In this paper, the authors make plain that collective participation was not lost when rap music transitioned from live performances to recorded music, and that the performance philosophy of the early days, in which the individual and group are affirmed simultaneously, survived the transition through the emphasis on call-andresponse-based practices.
Abstract: This fourth chapter makes plain that collective participation was not lost when rap music transitioned from live performances to recorded music. Rap’s seminal years exerted a significant influence over rap lyricism, especially in terms of its focus on call-and-response strategies and its emphasis on collective participation. The performance philosophy of the early days, in which the individual and group are affirmed simultaneously, survived the transition through the emphasis on call-and-response-based practices. Rap lyricism prolonged the “live” characteristic of pre-1979 performances through a prevailing conversional tone involving an interactive, interdependent, spontaneous process for achieving a sense of unity in which listeners have a sense of inclusiveness.
29 Jun 2019
TL;DR: In this paper, a brief overview of the theme in texts of authors such as: Massaud Moises (1982), Antonio Candido (1992), Davi Arrigucci Jr (1987), Afrânio Coutinho (1986), and Eduardo Portella (1958) is presented.
Abstract: The space of the Chronicle is, in most cases, the place of critical reflections to society, using as a starting point "daily" themes that are potentiated to the level of humor, irony and poetry. As poetry, the problematization of lyricism in the Chronicle was sometimes mentioned in theoretical discussions, and appears in some categorizations of the genre that were proposed by critics. However, considering the volume of studies that have already focused on the chronicle, we understand that the theme is distributed in a sparse way. Thus, the objective of this work is to propose a brief overview of the theme in texts of authors such as: Massaud Moises (1982), Antonio Candido (1992), Davi Arrigucci Jr (1987), Afrânio Coutinho (1986) and Eduardo Portella (1958). We also intend to perform interpretive analyses and clarify the lyrical aspects that compose two chronicles of the writer Eliane Brum.
TL;DR: In this article, the authors reconstruct and discuss the aesthetic and ethical reflections of the Brazilian modernist writer Mario de Andrade, to demonstrate the richness of his vision, and compare the reading of some of his poems and critical texts, especially Prefacio Interessantissimo and A escrava que nao e Isaura, compared to poems and reflections of other writers.
Abstract: The objective of this article is to reconstruct and discuss the aesthetic and ethical reflections of the Brazilian modernist writer Mario de Andrade, to demonstrate the richness of his vision. The reading of some of his poems and critical texts, especially Prefacio Interessantissimo and A escrava que nao e Isaura, is compared to poems and reflections of other writers, besides some critics of his work, such as Joao Luiz Lafeta. Initially the equation “lyricism + art = poetry” is explored, visited by Mario de Andrade from various perspectives, resulting in the proposal of variants. Next, we observe the writer's anxieties regarding the artists’ options of political participation, especially the Brazilian modernists. The article concludes that, in his poetic work, Mario de Andrade materialized the proposals of his critical reflection.
25 Jul 2019
TL;DR: In this paper, Cioran introduces two fairly clear stylistic choices in his work: one focused on lyricism where poetry has a very broad influence, and another focused on a critical language where he tries to detach himself from lyrical and poetic traces.
Abstract: Cioran introduces two fairly clear stylistic choices in his work. One focused on lyricism where poetry has a very broad influence, and another focused on a critical language where he tries to detach himself from lyrical and poetic traces. The paper explores these two aspects and points out their particularities, their possible antagonisms and the reasons that motivate their use in the work of the Romanian author through its skeptical imprint.