Programação
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INTRODUCTION TO POETRY (FLM 0544) 2017 Morning
Prof. Maria Sílvia Betti
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O poeta norte-americano John Ashbery morreu este domingo, aos 90 anos, na casa de Nova Iorque que partilhava com o seu marido, David Kermani. Desaparece assim aquele que era, muito provavelmente, o mais aclamado e influente poeta norte-americano da segunda metade do século XX. Fascinando uns e irritando outros com a sua poesia na qual nem sempre era fácil reconhecer um tópico ou vislumbrar um sentido, talvez se possa dizer que a poesia de Ashbery tratava do que se passava na sua cabeça quando escrevia poesia.[...]
Influenciado pelas artes não-verbais, como a pintura e a música, a sua poesia parece também ter tentado transmitir o tipo de emoção não verbalizável que nos provoca uma pincelada de Jackson Pollock ou uma composição de John Cage (dois artistas que admirava), ou pelo menos reproduzir o que se passava no seu espírito quando respondia a esse impulso. [...]
Alguns dos estudiosos da sua poesia vêem-no como um exemplo de pós-modernismo, outros sublinham a sua dívida aos grandes antecessores modernistas, como T. S. Eliot ou Wallace Stevens, por quem Ashbery nutria uma assumida predilecção.
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Mudanças, incoerências e descontinuidades, parecendo aderir ao fluxo da vida, são alguns dos traços da produção poética de John Ashbery. O lugar dessa estranha poesia, entre o padrão e a impermanência, a velocidade da experiência e a consciência da dificuldade de sua apreensão é analisado pela autora, a partir sobretudo de sua tradução para o português do longo poema de Ashbery “Autorretrato num Espelho Convexo” (1975), considerado como texto emblemático da pós-modernidade. Viviana Bosi situa o poeta em relação aos movimentos literários do século XX, principalmente os americanos e o surrealismo francês, para interpretar os 552 versos do poema traduzido, estudando seu diálogo com o maneirismo, em especial com o quadro de Parmigiano que lhe dá nome, e as questões reflexas do espelho e do autorretrato.
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CONTEXT: In the early 1900s, Gertrude Stein’s residence in Paris became a gathering place for artists and writers. Some of the visitors who frequented 27, Rue de Fleurus were the young experimental painters whose work Gertrude and her brother Leo Stein had been collecting: Picasso, Braques, Manet, Renoir, Cézanne, Matisse. Beside the more gregarious and articulate Matisse, Picasso, who was new to France and just learning to speak French, was thought of as “the quiet Spaniard” and was not at first understood by the guests at the Saturday-night dinner parties. But as the number of visitors and the frequency of the salon-evenings increased, Stein’s friendship with Picasso blossomed. She became more and more certain of his genius. As her brother increasingly sided with the Impressionists, her taste in art became more experimental, and she was among the first major collectors of the Cubists.
In 1905, Picasso asked her to sit for a portrait, and the results (not Cubist, but representational) were dark, brooding, and strange. Picasso famously said, “Everybody says that she does not look like it but that does not make any difference, she will," which was quoted by Stein in The Autobiography of Alice B. Toklas. Stein said later, “I was and still am satisfied with my portrait, for me it is I, and it is the only reproduction of me which is always I, for me.” The completion of the portrait marks the beginning of Stein’s interest in portraiture and “resemblance," concepts that would come to influence her writing nearly as much as Picasso’s Cubist philosophies.
Stein’s literary portrait of Picasso “If I Told Him," completed nearly twenty years later and first published in Vanity Fair, is a similarly strange but tender attempt to capture a resemblance of his genius. It begins: “If I told him would he like it. Would he like it if I told him.” As a painter might wonder if he is flattering his subject sufficiently, Stein wonders if Picasso will like the “portrait” she writes for him as he hears it told back to him—his own Cubist philosophies translated into language. A later passage addresses how one might create “resemblance” in a verbal passage, which becomes something like repetition:
Exact resemblance. To exact resemblance the exact resemblance as exact as a resemblance, exactly as resembling, exactly resembling, exactly in resemblance exactly a resemblance, exactly and resemblance. For this is so. Because.
In fact, Stein continues to defend the representational nature of Cubism throughout her life, as if one could only get to an exact “resemblence," or image of life, through the distortion, repetition, and altering of the present moment to mimic perception. In her 1938 book Picasso she mentions an incident in 1909 when Picasso, after having completed the Cubist paintings Horta de Ebro and Maison sur la Colline, showed Stein the photographs that inspired the paintings. Stein swore that they were no different than the photographs.
Stein’s most notable experiment with “verbal Cubism” was her book of poetry Tender Buttons, a series of prose poems divided into “Objects," “Food," and “Rooms.” In these strange and fractured descriptions of what she sees, the poet works toward the kind of resemblance and portraiture she first saw in Picasso’s work, beginning with a Cubist description of a carafe that seems to alert the world to the exciting changes afoot in poetry and painting:
A kind in glass and a cousin, a spectacle and nothing strange a single hurt color and an arrangement in a system to pointing. All this and not ordinary, not unordered in not resembling. The difference is spreading.
https://www.poets.org/poetsorg/text/picassos-portrait-gertrude-stein
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Shared by Graziela Campana Drago.
playlist do album "fábrica do poema", adriana calcanhotto: https://www.youtu
be.com/watch?v=yoy05hsv-Ms&lis t=PLQgu4qwIoFjGdgi5CrM0anCkxG0 pprbGz -
A poem by Bertolt Brecht.
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Ensaio do filósofo Leandro Konder sobre a poesia de Bertolt Brecht.
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FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DA UNIVERSIDADE DE SÃO PAULO
Departamento de Letras Modernas
Área de Estudos Linguísticos e Literários em Inglês
FLM 0589 INTRODUCTION TO POETRY (MORNING CLASS)
MID SEMESTER ACTIVITY (worth 04 points)
Due: October 05
Choose ONE of the two options below:
Option 1
Answer the following question using your own words and ideas. Refer to your sources if any.
In Terry Eagleton’s Chapter V, in How to Read a Poem, several elements that can be detected in the analysis of poems are examined in detail. These elements - connotation, tone, mood, intensity, texture, grammar, ambiguity, punctuation, rhymes and imagery - have also been examined in the different selections of poems posted at the Moodle and discussed in class in the first part of the course.
Illustrate and comment on the use of at least two of these aspects in a freely chosen poem not previously discussed in class. Please attach a copy of the poem. Approximate length: 4,000 characters)
Option 2 (only for volunteers who sign up to participate and inform their names and the title of the chosen poem they until September 28. Send an email to intropoesia2015@gmail.com ).
Reading and commenting of a poem in the Mid Semester Poetry Reading Event to take place on October 05. Length: one class session (from 8 to 9.40 a.m.)
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Scene from "Dead Poets Society" (1989).
Starring Robin Williams. -
Another scene of the film.
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James Earl Jones at the 92nd St. Y in New York City reads
Walt Whitman's Song of Myself #6-7 and #17-19
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A child said, What is the grass? fetching it to me with full
hands;
How could I answer the child?. . . .I do not know what it
is any more than he.I guess it must be the flag of my disposition, out of hopeful
green stuff woven.Or I guess it is the handkerchief of the Lord,
A scented gift and remembrancer designedly dropped,
Bearing the owner’s name someway in the corners, that we
may see and remark, and say Whose?Or I guess the grass is itself a child. . . .the produced babe
of the vegetation.Or I guess it is a uniform hieroglyphic,
And it means, Sprouting alike in broad zones and narrow
zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressman, Cuff, I give them the
same, I receive them the same.And now it seems to me the beautiful uncut hair of graves.
Tenderly will I use you curling grass,
It may be you transpire from the breasts of young men,
It may be if I had known them I would have loved them;
It may be you are from old people and from women, and
from offspring taken soon out of their mother’s laps,
And here you are the mother’s laps.This grass is very dark to be from the white heads of old
mothers,
Darker than the colorless beards of old men,
Dark to come from under the faint red roofs of mouths.O I perceive after all so many uttering tongues!
And I perceive they do not come from the roofs of mouths
for nothing.I wish I could translate the hints about the dead young men
and women,
And the hints about old men and mothers, and the offspring
taken soon out of their laps.What do you think has become of the young and old men?
What do you think has become of the women and
children?They are alive and well somewhere;
The smallest sprouts show there is really no death,
And if ever there was it led forward life, and does not wait
at the end to arrest it,
And ceased the moment life appeared.All goes onward and outward. . . .and nothing collapses,
And to die is different from what any one supposed, and
luckier. -
A Supermarket in California
What thoughts I have of you tonight Walt Whitman, for I walked down the sidestreets under the trees with a headache self-conscious looking at the full moon.
In my hungry fatigue, and shopping for images, I went into the neon fruit supermarket, dreaming of your enumerations!
What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!—and you, Garcia Lorca, what were you doing down by the watermelons?
I saw you, Walt Whitman, childless, lonely old grubber, poking among the meats in the refrigerator and eyeing the grocery boys.
I heard you asking questions of each: Who killed the pork chops? What price bananas? Are you my Angel?
I wandered in and out of the brilliant stacks of cans following you, and followed in my imagination by the store detective.
We strode down the open corridors together in our solitary fancy tasting artichokes, possessing every frozen delicacy, and never passing the cashier.
Where are we going, Walt Whitman? The doors close in an hour. Which way does your beard point tonight?
(I touch your book and dream of our odyssey in the supermarket and feel absurd.)
Will we walk all night through solitary streets? The trees add shade to shade, lights out in the houses, we'll both be lonely.
Will we stroll dreaming of the lost America of love past blue automobiles in driveways, home to our silent cottage?
Ah, dear father, graybeard, lonely old courage-teacher, what America did you have when Charon quit poling his ferry and you got out on a smoking bank and stood watching the boat disappear on the black waters of Lethe?
Berkeley, 1955Allen Ginsberg, “A Supermarket in California” from Collected Poems 1947-1980. Copyright © 1984 by Allen Ginsberg. Reprinted with the permission of HarperCollins Publishers, Inc.Source: Selected Poems 1947-1995 (2001)
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The second part of the Poetry Reading event will take place on this date.
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OCTOBER 26: DISCUSSION OF THE POETRY READING ACTIVITY AND DISCUSSION OF THE POST MID SEMESTER PROGRAM (REFORMULATION)
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2017 POST MID SEMESTER PROGRAM REFORMULATED
Calendar
October
26
November
09
16
23
30
December
07 Final Test Questions (worth 06 points) will be assigned
14 Students turn in their tests.
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Traditional English Lute Ballad
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Traditional English Lute Ballad
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Traditional English song, written in Early English, from Thomas Ravenscroft's collection, published in 1611
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A thesis that examines the representation of the three estates of medieval society in the early Robin Hood ballads, suggesting that they are echoing and stimulating social change away from the tripartite model of feudalism and towards a more equitable, if still hierarchical, social model. It will look particularly at the early texts “Robin Hood and the Monk”, “Robin Hood and Guy of Gisborne”, “Robin Hood and the Potter” and “A Gest of Robyn Hode” examining themes of violence, transgression, and fellowship to lead to a conclusion that the ballads are testing current laws and social norms to reveal their inherent weaknesses and to promote an idealised conception of the free common man.
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While singularly unheralded by literary scholars, perhaps indicating the ballads’ slippage from
critical view, the resurgence of interest in balladry, its history, and even ideological
salience—witnessed by the present gathering of articles—offers a timely
stimulus for scrutiny of this positioning of the genre in the eighteenth century
itself.
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A study of anomalous women in fifteenth-century ballads.
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"Here's to You" is a song by Ennio Morricone and Joan Baez, released in 1971 as part of the soundtrack of the film Sacco e Vanzetti, directed by Giuliano Montaldo. The lyrics are by Baez herself and the music is by Ennio Morricone
Nicola Sacco and Bartolomeo Vanzetti were Italian-born American anarchists who were convicted of murdering a guard and a paymaster during the April 15, 1920 armed robbery of the Slater and Morrill Shoe Company in Braintree, Massachusetts, United States. They were executed in the electric chair seven years later at Charlestown State Prison. Both men adhered to an anarchist movement that advocated relentless warfare against a violent and oppressive government.
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Not one of the many versions of the Sacco and Vanzetti funeral footage found on the internet appears in its correct chronological order. The re-edited footage presented here is the first attempt to show the film in chronological order.
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This Ballad is part of The Three Penny Opera, by Brecht and Weill.
It was first performed in the 1920's in Berlin and was the first collaboration of Brecht and Kurt Weill. Weill's music may well be the reason the piece has survived and been done all over the world. Brecht, extremely socialist and anti-capitalist became one of the most influential playwrights of the 20th century. This "opera" was based on a previous work called "The Beggars Opera" and Brecht saw in it a vehicle to alienatem his audience and force them to listen to ideas, not cvharacters. anyway, it is worth knowing and Mack the Knife as a song has been sung by every singer ever since
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Pronouns and their Verb Conjugations
These are the things people use most often to "affect" an archaic feel to their language. Here are the correct usages:
Subjective (nominative) Objective (accusative) Possessive (genitive) Verb Ending Irregular Verbs 1st Person Singular I me my, mine 1 none am 2nd Person Singular thou thee thy, thine 1 -est art, hast, dost, shalt, wilt 3rd Person Singular he, she, it him, her, it his, her/hers, its -eth is, hath, doth 1st Person Plural we us our, ours none are 2nd Person Plural ye 2 you your, yours none are 3rd Person Plural they them their, theirs none are -
The most popular sonnets are:
- 126 William Shakespeare Sonnet - O thou my lovely boy
- 130 William Shakespeare Sonnet - My Mistress' eyes
- 029 William Shakespeare Sonnet - When in disgrace with fortune
- 116 William Shakespeare Sonnet - Let me not to the marriage of true minds
- 18 William Shakespeare Sonnet - Shall I compare thee to a Summer's day?
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From Margaret Edson' play "Wit", film version with Emma
Thompson.WIT- 1.mental sharpness and inventiveness; keen intelligence."he does not lack perception or native wit"
synonyms: intelligence, shrewdness, astuteness, cleverness, canniness, sense, common sense, wisdom, sagacity, judgment, acumen, insight; - 2.a natural aptitude for using words and ideas in a quick and inventive way to create humor."a player with a sharp tongue and a quick wit"
synonyms: wittiness, humor, funniness, drollery, esprit;
In the above picture, a photo of the Broadway production with Cynthia Nixon.
No Brasil a peça foi traduzida como "Wit. Jornada de um Poema".
Com Jornada de um poema [WIT], Margaret Edson ganhou o Pulitzer, o mais importante prêmio cultural do EUA.A protagonista da peça, Vivian Bearing – uma renomada professora de literatura, especialista na obra do grande poeta inglês John Donne, contemporâneo de Shakespeare – descobre ser portadora de um câncer terminal.
De forma realista, a autora mostra todo o sofrimento, físico e psicológico, suportado por Vivian: as dores horríveis, as humilhações do tratamento, a insensibilidade dos médicos, as falsas esperanças, a solidão e, principalmente, o medo da morte. Tudo isso leva a protagonista a refletir sobre as questões mais importantes: o significado da vida, a morte, Deus, suas relações pessoais e profissionais.
A reflexão, feita com profundidade e humor, tendo como contexto a poesia de John Donne, causa profundas mudanças no espírito da personagem que influenciam o desfecho da peça. Jornada de um poema[WIT] foi encenada no Brasil sob a direção de Diogo Vilela com Glória Menezes no papel de Vivian.
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See Chapter 1, The Rise of English.
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Deadline: December 14 attached to an individual email message specifically intended for this purpose and addressed to intropoesia2015@gmail.com or mariasilviabetti@usp.br containing your name, period and USP number. A confirmation message will be sent.
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