Augusto de Campos Eight Material Poems Perrone, Charles A; de Oliveira, Marco Alexandre; de Campos, Augusto
Delos (College Park, Md.),
01/2017, Volume:
32
Journal Article
In this paper, we propose to reflect on the inventive nature of translation, taking into consideration what Derrida conceives as to-be-translated (2006), as well as what Augusto de Campos (2015; ...2008b) calls as “creative translation”. The analysis material is Derrida’s Des tours de Babel, and the translation by Campos of the collected poems “I’m Nobody” by Dickinson. In the interface of Translation Studies and Derridian Deconstruction, we expect to contribute to enlarge the theorization on representation through translation, and the understanding about the inventive/creative processes in translation considered as writing.
Anti-Literature Shellhorse, Adam Joseph
07/2017, Volume:
76
eBook
Anti-Literaturearticulates a rethinking of what is meant today by "literature." Examining key Latin American forms of experimental writing from the 1920s to the present, Adam Joseph Shellhorse ...reveals literature's power as a site for radical reflection and reaction to contemporary political and cultural conditions. His analysis engages the work of writers such as Clarice Lispector, Oswald de Andrade, the Brazilian concrete poets, Osman Lins, and David Viñas, to develop a theory of anti-literature that posits the feminine, multimedial, and subaltern as central to the undoing of what is meant by "literature."By placing Brazilian and Argentine anti-literature at the crux of a new way of thinking about the field, Shellhorse challenges prevailing discussions about the historical projection and critical force of Latin American literature. Examining a diverse array of texts and media that include the visual arts, concrete poetry, film scripts, pop culture, neo-baroque narrative, and others that defy genre, Shellhorse delineates the subversive potential of anti-literary modes of writing while also engaging current debates in Latin American studies on subalternity, feminine writing, posthegemony, concretism, affect, marranismo, and the politics of aesthetics.
Brazilian concrete poetry can teach us to see, where the language is materialized, the concrete in Pessoa’s writings. To do this is to see Pessoa as a precursor of the Brazilian concrete poets. But ...precursor-ship is not the only link between them. In the case of the founding group of concrete poetry, the work of Pessoa traverses the whole of their critical and creative journey and is present from their first books up until their digital animations and last poems. I read Pessoa’s work through the lens of concrete theory in order to reveal him as a concrete poet in his own right. I examine Pessoa’s pervasive presence in the work of Augusto de Campos, the last surviving founder of concrete poetry and the one in whose work the critical and creative assimilation of Pessoa is most marked.
This thesis traces the development of the international Concrete Poetry movement through the evolving understanding of the Chinese ideogram: from Ezra Pound’s Ideogrammic Method to the Brazilian ...Poesia Concreta, via English language translations and adaptations, and lastly to its substantial impact on modern poetry in Chinese script. In this attempt to map the territory on which the idea of the Chinese ideogram has been established, propagated, developed and reintegrated into the poetic praxes of international Modernism, this thesis attempts to uncover the underlying attraction of the Chinese ideogrammic properties to poets using Western languages such as Portuguese and English and to clarify the theoretical implications associated with the Chinese ideogram reflected in the poetics and translation theories practiced by prominent Brazilian and Scottish concrete poets. The thesis concludes by considering how these poetic and translation strategies later return to impact on experimental literary practices in Asia. By performing in-depth analysis of discourses and poetic practice by writers from Brazil, Scotland, Japan and China, this thesis submits the idea of the “ideogram” to critical enquiry, arguing that the transmutation of the idea of the ideogram in critical discourse about Concrete Poetry occurs in response to and in dialogue with the cultural dynamics arising from the specific national literary space. This thesis investigates multiple layers of networks built among concrete poets: translations, epistolary correspondence and publications. The conception of “transcreation” proposed by the de Campos brothers constitutes a theoretical extension of the Ideogrammic Method in translational praxis, which links Concrete Poetry to the emergence of a globalist context. By analysing the fraught relationship between transcreation and original text, this research addresses the practical problems that occur in the process of translating concrete poems. To this end, this thesis also draws from preceding translators, philosophers and theorists in the hermeneutic tradition, who refute the idea of treating translation as merely an imitative act. The development of the idea of transcreation is illustrated with reference to the correspondence between Edwin Morgan and Haroldo de Campos—primary source material stored at the Edwin Morgan Archive in the Special Collections Department at Glasgow University Library and the Haroldo de Campos Archive in the Casa das Rosas museum in São Paulo. These letters not only shed light on the strategy of transcreation, but also reveal the implications that national experience in an emerging global context has for poetic creation. This thesis then examines the connections built between the Brazilian concrete poets and Japanese avant-garde artists. It establishes the correlation between the Western construct of ideogrammic composition and the Chinese ideogram ‘proper’ as poetic material, while exploring how the Chinese written character avails itself in maximizing the inherent verbivocovisual quality in the composition of Concrete Poetry. The thesis concludes with a discussion of the Chinese Concrete Poetry (from Taiwan and mainland China) from past to present. It makes the argument that even though the Chinese modern Concrete Poetry was in certain extent mediated via the Japanese concrete poets, there is a telling poetic continuity in the visual experimentation of poetry inherited from classical Chinese to vernacular Chinese. Ironically, this continuity prevented Chinese visual poetry from being considered “Modern” until the Ideogrammic Method was re-imported from the West.
A escolha de uma "língua morta" e a grafia idiossincrática na própria língua materna, sobrescrita à imagem de duas figuras indeterminadas (algo e alguém), tornam o título grego (oütauiotazeta) e o ...texto em português (NINGUÉM) "ilegíveis" num primeiro momento, propondo o poema como uma espécie de trobar clus, uma obra "escura" ou "fechada" (oclusa), como sugerem as sombras ao fundo. No entanto, o poema é quase translúcido: oútis significa "nada" e "ninguém", literalmente traduzidos no texto e na fotografia, de forma indicial (Peirce) e constatativa (Austin). Como se explica essa contradição performativa? Em que sentido esse texto estranho será chamado (ou não) de "literatura"? O que esse poema pode nos dizer sobre a poética de Augusto de Campos de um modo geral? Palavras-chave: poesia visual, pintura, mímesis, performance, tradução. The choice of a "dead language" and the idiosyncratic spelling in one's own mother tongue, overwritten in the image of two indeterminate figures (something and someone), make the Greek title (oütauiotazeta) and the Portuguese text (NO ONE) "unreadable" in the first instance, proposing the poem as a kind of trobar clus, a "dark" or "closed" (occluded) work, as the shadows in the background suggest. However, the poem is almost translucent: oútis means "nothing" and "nobody", literally translated in the text and photography, in an indexical (Peirce) and constatative (Austin) form. How is this performative contradiction explained? In what sense will this strange text be called (or not) "literature"? What can this poem tell us about the poetry of Augusto de Campos in general? Keywords: visual poetry, painting, mimesis, performance, translation. La elección de una "lengua muerta" y la grafía idiosincrática en la propia lengua materna, sobrescrita en la imagen de dos figuras indeterminadas (algo y alguien), hacen que el título griego (oütauiotazeta) y el texto en portugués (NADIE) sean en un primer momento "ilegibles", proponiendo el poema como una especie de trobar clus, una obra "oscura" o "cerrada", como sugieren las sombras en el fondo. Sin embargo, el poema es casi translúcido: oútis significa "nada" y "nadie", traducidos literalmente en el texto y en la fotografía, de forma indicial (Peirce) y constatativa (Austin). ?Cómo se explica esta contradicción performativa? ?En qué sentido este extrano texto se llamará (o no) "literatura"? ?Qué nos puede decir este poema sobre la poética de Augusto de Campos en general? Palabras-llave: poesia visual, pintura, mimesis, performance, traducción.
Visando retirar do ostracismo um poema que ainda não foi lido como poema por ninguém na crítica brasileira, este ensaio procura dispor algumas reflexões em torno de oútis, que abre o livro Não, de ...Augusto de Campos. Partindo da única exceção de Gonzalo Aguilar, que lhe dedica dois parágrafos valiosos, desenvolve-se a hipótese de que as datas desmedidas que acompanham o título do poema permitem lê-lo como síntese da poética do autor. Num estudo preliminar das relações entre poesia e fotografia, em diálogo com formulações de Benjamin, Eisenstein e Feno Uosa sobre a montagem cinematográfica e a técnica do ideograma, destaca-se a complexidade envolvida nesse "poema de uma palavra só" sobreposta à imagem de sombras na grama, cuja sintaxe supõe uma rede intrincada de conexões entre o visível e o legível, o português e o grego, a poesia, as artes visuais e outros poemas ao longo da história, com que entra numa constelação sincrônica. Palavras-chave: Poesia visual, Fotografia, Montagem, Ideograma, Ato de escrita Aiming to remove from ostracism a poem that has not yet been read as a poem by anyone in Brazilian criticism, this essay seeks to provide some reflections around oútis, the opening poem in Augusto de Campos' book Não. Starting from the only exception of Gonzalo Aguilar, who dedicates two valuable paragraphs to this poem, this paper puts forward the hypothesis that the excessively long date range appearing under the poem's title leads us to read it as a synthesis of the author's poetics. In a preliminary study of the relationship between poetry and photography, in dialogue with formulations by Benjamin, Eisenstein and Fenollosa on the cinematographic montage and the ideogram technique, we highlight the complexity involved in this "one-word poem" superimposed on the image of shadows on the grass, whose syntax assumes an intricate network of connections between the visible and the readable, Portuguese and Greek, poetry, visual arts and other poems throughout history, with which it enters in a synchronic constellation. Keywords: Visual poetry, Photography, Montage, Ideogram, Act of writing Con el objetivo de sacar del ostracismo un poema que aún no ha sido leído como un poema por nadie en la crítica brasileña, este ensayo busca proporcionar algunas reflexiones sobre oútis, que abre el libro Não, de Augusto de Campos. Partiendo de la única excepción de Gonzalo Aguilar, quien le dedica dos valiosos párrafos, se desarrolla la hipótesis de que las fechas excesivas que acompañan el titulo del poema permiten leerlo como una síntesis de la poética del autor. En un estudio preliminar de la relación entre poesía y fotografía, en diálogo con formulaciones de Benjamin, Eisenstein y Fenollosa sobre el montaje cinematográfico y la técnica del ideograma, nosotros destacamos la complejidad involucrada en este "poema de una palabra" superpuesta a la imagen de sombras en la hierba, cuya sintaxis supone una intrincada red de conexiones entre lo visible y lo legible, el portugués y el griego, la poesía, las artes visuales y otros poemas a lo largo de la historia, con los cuales entra en una constelación sincrónica. Palabras claves: Poesia visual, Fotografia, Montaje, Ideograma, Acto de escritura
Poetamenos, o principal precursor do concretismo no Brasil, é uma transcriação intersemiótica da Klangfarbenmelodie, de Anton Webern. Trata-se de uma série de seis poemas, elaborados por Augusto de ...Campos entre 1952 e 1953. A transcriação da técnica serial musical está relacionada ao fim do ciclo histórico do verso e fornece à "linha evolutiva" preconizada pelos concretistas um modelo e um método criativo rigorosos. Em nossa argumentação, Poetamenos revela: (i) uma compreensão dialética da tensão som-silêncio através da fragmentação, dispersão e acúmulo de letras, sílabas e estruturas lexicais; (ii) o rigor formal e metodológico elaborado por Webern; (iii) os efeitos do serialismo weberniano nos anos 1950, cuja entrada no Brasil deve-se a Hans-Joachim Koellreutter. Também concluímos que o uso de procedimentos gráfico-espaciais, plurilíngues e policromáticos, no Poetamenos, não possui uma precisa correspondência com componentes composicionais do serialismo, nem com qualquer das obras de Webern, em particular, como muitos autores defendem. Palavras-chave: Poetamenos; Augusto de Campos; Anton Webern; Klangfarbenmelodie; transcriação intersemiótica. Poetamenos, the main precursor of concretism in Brazil, is an intersemiotic transcreation of Anton Webern's Klangfarbenmelodie. It is a series of six poems written by Augusto de Campos between 1952 and 1953. The transcreation of the serial music technique is related to the end of the historical cycle of the verse and provides a rigorous and creative method to the "evolutionary line" indicated by the concretists. According to our arguments, Poetamenos reveals (i) a dialectical understanding of the sound-silence tension through the fragmentation, dispersion and accumulation of letters, syllables, and lexical structures; (ii) the formal and methodological rigor developed by Webern; (iii) the effects of Webernian serialism in the 1950s, which entered Brazil thanks to Hans-Joachim Koellreutter. We also conclude that the use of graphic-spatial, plurilingual and polychromatic procedures does not have a precise correspondence with compositional components of serialism, nor with any of Webern's works in particular, as many authors claim. Keywords: Poetamenos; Augusto de Campos; Anton Webern; Klangfarbenmelodie; intersemiotic transcreation. Poetamenos, el principal precursor del concretismo en Brasil, es una transcreación intersemiótica del Klangfarbenmelodie de Anton Webern. Se trata de una serie de seis poemas, escritos por Augusto de Campos entre 1952 y 1953. La transcreación de la técnica de la musica serial se relaciona con el final del ciclo histórico del verso y proporciona la "línea evolutiva" recomendada por los concretistas con un modelo y un método estrictamente creativo. En nuestro argumento, Poetamenos revela: (i) una comprensión dialéctica de la tensión sonido-silencio a través de la fragmentación, dispersión y acumulación de letras, sílabas y estructuras léxicas; (ii) el rigor formal y metodológico elaborado por Webern; (iii) los efectos del serialismo weberniano en la década de 1950, cuya entrada en Brasil se debió a Hans-Joachim Koellreutter. También concluimos que el uso de procedimientos gráfico-espaciales, multilingües y policromáticos en Poetamenos no tiene una correspondencia precisa con los componentes compositivos del serialismo, ni con ninguna de las obras de Webern, en particular, como defienden muchos autores. Palabras clave: Poetamenos; Augusto de Campos; Anton Webern; Klangfarbenmelodie; transcreación intersemiótica.
Augusto de Campos (Sao Pablo, 1931), uno de los fundadores del movimiento concretista brasileño de los años cincuenta, se destaca por realizar mecanismos de traducción sobre los textos foráneos que ...implican un modo de apropiación extrema. Su declarada afiliación a los postulados de la tradición antropófaga le aporta funcionalidad para desmitificar los textos originales y así resignificar lo extranjero para integrarlo a lo propio. En consecuencia, se produce un desplazamiento de la figura del traductor subalterno, invisible o mero mediador para convertirse en uno activo, creativo y creador de una nueva obra. De Campos incorpora el concepto de introducciones para referirse a estas traducciones intersemióticas en las que operan criterios visuales que son ajenos al texto traducido. Así, a través del análisis de los procedimientos que utiliza para estas reescrituras, se pone de manifiesto una nueva autonomía más radicalizada que genera la crisis de ciertos conceptos como autor/traductor, texto origen/texto meta, fidelidad/infidelidad. Desde la teoría de los estudios comparados, se examina cómo estos conceptos conducen a una intraducibilidad que se resignifica dentro del marco de la producción personal del poeta y su marco cultural de referencia.
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