By Pessoa, Fernando; Jackson, Kenneth David
Poet, short-story author, feverish inventor--Fernando Pessoa used to be probably the most cutting edge figures shaping eu modernism. identified for a repertoire of works penned by way of a number of invented authors--which he termed heteronyms--the Portuguese author gleefully subverted the idea of what it capacity to be an writer. Adverse Genres in Fernando Pessoa offers an creation to the fiction and the "profusion of selves" that populates the enigmatic author's uniquely imagined oeuvre.
To advisor readers throughout the eclectic paintings shaped via Pessoa's heteronyms, ok. David Jackson advances the assumption of "adverse genres" revealing style clashes to be basic to the author's paradoxical and contradictory corpus. during the invented "coterie of authors," Pessoa inverted the standard relationships among shape and content material, authorship and textual content. In an encouraged, paradoxical, and now and then absurd blending of cultural referents, Pessoa chosen genres from the eu culture (Ricardo Reis's Horatian odes, Álvaro de Campos's worship of Walt Whitman, Alberto Caeiro's pastoral and metaphysical verse, and Bernardo Soares's philosophical diary), into which he inserted incongruent modern rules. by way of developing a number of layers of authorial anomaly Pessoa breathes the energy of modernism into conventional historic genres, extending their expressive diversity.
Through examinations of "A Very unique Dinner," the "Cancioneiro," love letters to Ophelia Queirós, "The event of the Anarchist Banker," Pessoa's number of quatrains derived from Portuguese renowned verse, the booklet of Disquietude, and the most important poetic heteronyms, Jackson enters the orbit of the artist who exchanged a regular existence for a global of the mind's eye
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Poet, short-story author, feverish inventor--Fernando Pessoa was once probably the most leading edge figures shaping eu modernism. recognized for a repertoire of works penned via a number of invented authors--which he termed heteronyms--the Portuguese author gleefully subverted the suggestion of what it capability to be an writer.
Additional info for Adverse genres in Fernando Pessoa
Pessoa lives at odds with tradition, and adverse genres—deﬁned by tensions between form and thought, writer and text, language and meaning—dominate every major facet of his literary world. His motivation is in part a purely avant-garde attitude of absurdity, based on the paradox that since we cannot know what we are in reality, the “only way to be in agreement with life is to disagree with ourselves (O único modo de estarmos de acordo com a vida é estarmos em desacordo com nós próprios) [LD 23].
He emphasizes and exploits the inner tensions such that the genre is redeﬁned, or a new genre results from the poet’s occupying the estranged space in between language and meaning. The dramatization of this space in Pessoa’s poetic language makes genre impossible, while its failure and emptiness provide the necessary precondition for its redeﬁnition and rewriting: INTRODUCTION: DECEIVING THE MESSENGER 17 All I dream or pledge Whatever fails my bet Is like a ledge Over another thing yet Where true beauty is set.
In the play’s prologue, Pessoa explains his new set of principles that redeﬁnes dramatic action in terms of language alone and proclaims the advent of “static theater,” following Maurice Maeterlinck (1862–1949). ”53 The second way Pessoa attacks genre is to make full use of its rhetorical and referential repertoire. He emphasizes and exploits the inner tensions such that the genre is redeﬁned, or a new genre results from the poet’s occupying the estranged space in between language and meaning. The dramatization of this space in Pessoa’s poetic language makes genre impossible, while its failure and emptiness provide the necessary precondition for its redeﬁnition and rewriting: INTRODUCTION: DECEIVING THE MESSENGER 17 All I dream or pledge Whatever fails my bet Is like a ledge Over another thing yet Where true beauty is set.
Adverse genres in Fernando Pessoa by Pessoa, Fernando; Jackson, Kenneth David