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The article overviews the genesis of the Brazilian War of Canudos and tries to shed some light upon Euclides da Cunhaʼs way of fighting the scientific racism that condemned Brasil as a country of unbounded miscigenation. Starting from Gumplowitzʼs theory of „historic race“, Euclides da Cunha shows that the autochtonous inhabitants of sertão, separated from the coast as it was, actually did not form a hybrid and unstable race with Portuguese colonists, but a “living rock of Brazilian race”.
EN
The article deals with the evolution of the language of Brazilian regionalism in the second half of the 19th and the first decades of the 20th century. Beginning with O gaúcho and O sertanejo, “sertanist” novels by José de Alencar, it briefly comments on the “bilingualism” of the regionalist short-stories of the turn of the century and their switching between the story-tellersʼ flowery language and the uncouth language of the rustic characters. Having examined the narrative shift to the first person narrative, capable of relating the personal experience of the villagers, it brings the example of short-stories penned by Simões Lopes Neto as a case of a successful transposition of the dialect of Rio Grande do Sul into a full literary language. This language conveys not only the peculiarity of the “gaúcho” narrator Blau Nunes but also a whole world-view of a character wedded to the archaic understanding of life
EN
The article deals with the fantastic short-story as it appears in Brazilian Regionalism, attempting at an explanation of this little studied phenomenon. It argues that the Regional fantastic, a mode in-between the uncanny and the marvelous, may correspond to an ambiguous feeling of an intellectual torn between an imposed urban modernity and the archaic mind of most of the country.
EN
The essay examines the role of primitive art and “non-artistic” genres in the works of the American poet Elizabeth Bishop. Bishop, similarly to other authors, believed that primitive artists and the authors of works which art not primarily intended as art can “naturally” achieve effects which artists have difficulties achieving intentionally. Bishop’s translation of The Diary of “Helena Morley” and its relationship to her own texts is examined to illustrate the point.
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