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πρωταγωνιστής 50 αποχρώσεις του γκρι Aesthetics of Equilibrium: The Vanguard Poetics of Vicente by Bruce Dean Willis

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ειρένα γεωργιάδου ελληνική τράπεζα By Bruce Dean Willis

Aesthetics of Equilibrium is the 1st book-length comparative research of the theoretical prose by means of significant Latin American vanguardist contemporaries, Mario de Andrade (Brazil, 1893-1945) and Vicente Huidobro (Chile, 1893-1948). Willis deals a comparative research of 2 allegorical texts, Huidobro's "Non serviam" and Mario's "Parabola d’A escrava que nao e Isaura."

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αντιπροσωπεια honda moto χανια διδακτικες ιστοριες για την αγαπη Extra resources for Aesthetics of Equilibrium: The Vanguard Poetics of Vicente Huidobro and Mario de Andrade (Purdue Studies in Romance Literatures)

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αποξηραμενη φραουλα χωρις ζαχαρη Mário’s Poetry, when she is exposed by Rimbaud, is “falando por sons musicais” (OI 202); her mode of expression recalls the disarticulated vocalizations that conclude Huidobro’s Altazor. • Slaves, Masters, and the Identity of the Self A lexical reading demonstrates the existence and importance of the slave and master relationship in the two parables. In “Non serviam,” the word esclavo is used twice, esclavitud once, amo [master] once, servicio once, and forms of the verb servir, including the Latin serviam, eight times.

κρουστικος υπερηχος τιμες Biblical Subtexts: The Sacred Word The rich biblical background of both parables serves to reinforce the schismatic nature of the new poetics while at the same time lending the authority of Holy Writ to these texts. Mário’s parable starts with Genesis, while Huidobro’s makes reference 3 Introduction to Revelation. Genesis not only tells the story of an initial creation, but also of a punitive destruction by flood and a second flourishing of life; similarly, Revelation is not just the story of the Earth’s ultimate demise but also of the subsequent revelation of the divine, ideal existence.

παιδικη μεριμνα ιωαννινα To defend contextually this strongly authoritative statement, Mário distinguishes Christ’s divine “Verdade” from his own, humble “minha verdade,” setting up the New Testament frame. Continuing in a religious vein, he denies any association of official dogma with his informal title of “the Pope of (Brazilian) Modernism” (“É mentira dizer-se que existe em S. Paulo um igrejó literário em que pontifico” [It’s a lie to say there’s some big church in S. Paulo where I pontificate]) and concludes, in reference to the contemporary São Paulo literary scene, that everyone has his or her own tendencies, ideas, and truths: “Isso não quer dizer que haja discípulos pois cada um de nós é o deus de sua própria religião” [That doesn’t mean there are disciples, because each of us is the god of his own religion] (OI 201).

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