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Charles Perrone explores how recent Brazilian lyric engages with its counterparts throughout the Western Hemisphere in an increasingly globalized world. This pioneering, tour-de-force study focuses on the years from 1985 to the present and examines poetic output - from song and visual poetry to discursive verse - across a range of media.
"This study is the first to examine the presence of prose lyricism as a tendency in Brazilian novels. In addition to examining a selection of works of fiction and writers between the nineteenth and the twenty-first centuries, the book also addresses the absence of the theme in Brazilian literary studies, exposing the origin of a prejudice against lyrical narratives in comparison with the predominant use of social realism. The author bridges this gap, bringing to light some of the implications of this absence with regards to the themes of realism and representation in national literature. She also engages with a selection of relevant theories about lyric novels, adding to its premises recent and flexible configurations in the theory of genres. The ultimate aim of this book is to contribute to a different perception of prose lyricism and its possibilities for political engagement. This unique investigation provides readers with different degrees of knowledge about Brazilian literature the opportunity to get to know both literary movements in Brazil as well as relevant authors, such as João Guimarães Rosa, Clarice Lispector and Raduan Nassar, among many others"--
"Drawing on interviews with artists and poets and on his own experiences in the Brazilian Northeast, Arons has written an account of how drought has impacted the region's culture. He intertwines ecological, social, and political issues with the words of some of Brazil's most prominent authors and folk poets to show how themes surrounding drought - hunger, migration, endurance, nostalgia for the land - have become deeply embedded in Nordeste identity. Through this tapestry of sources, Arons shows that what is often thought of as a natural phenomenon is actually the result of centuries of social inequality, political corruption, and unsustainable land use."--BOOK JACKET.
"Study of Brazilian poetry from 1950-90 examines its 'seven faces' (a pun on Drummond's poem of the same name), phases, and trends. Introductory chapter reviews movement's initial phases and sets the stage for what follows: the legacy of the Modernist movement. Chapters 2-6 cover Concrete poetry and other vanguard groups, the lyricism of popular music, and different types of 1970s youth poetry. Also examines social and esthetic tensions in contemporary Brazilian poetry"--Handbook of Latin American Studies, v. 58.
In Portuguese and English.
Being Jewish in Brazil--the world's largest Catholic country--is fraught with paradoxes, and living in São Paulo only amplifies these vivid contradictions. The metropolis is home to Jews from over 60 countries of origin, and to the Hebraica, the world’s largest Jewish athletic and social club. Jewish identity is rooted in layered experiences of historical and contemporary dispersal and border crossings. Brazil is famously tolerant of difference but less understanding of longings for elsewhere. Celebrating both Carnival and the High Holidays is but one example of how Jews in São Paulo hold themselves together as a community in the face of the forces of assimilation. Misha Klein’s fascinating ethnography reveals the complex intertwining of Jewish and Brazilian life and identity.
Access audio files at: https://soundcloud.com/singing_in_brazilian_portuguese_recorded_examples_marcia_porter While popular forms of Brazilian music include bossa nova and samba, Brazil also has a rich classical music tradition dating back to the 1500s that exhibits a unique and diverse amalgamation of many styles and influences including African, Italian, French, and indigenous. Singing in Brazilian Portuguese: A Guide to Lyric Diction and Vocal Repertoire makes Brazilian modinhas and canções accessible to singers through an overview of the history of the language and music, brief biographies of major composers, and a sampling of selected texts transliterated into the International Phonetic Alphabet (IPA). Part I introduces the alphabet and pronunciation of sounds through IPA and is enhanced by online audio recordings of native Brazilian classical singers. Marcía D. Porter covers such topics as oral and nasal vowels, diagraphs, onset and final consonants, word stress, and syllabification. It also includes an overview of the newly implemented Acordo Ortográfico. Part II provides IPA transliterations and both word-for-word and poetic translations of representative songs, including Villa-Lobos’s Bachianas brasileiras, no. 5. The book also offers a brief overview of the history of Brazilian vocal music and biographical sketches of select major composers from various periods. Singing in Brazilian Portuguese is the first resource of its kind geared toward singers, voice teachers, vocal coaches, collaborative pianists, and others who are interested in exploring, teaching, and performing this beautiful and exciting repertoire.
I the Supreme imagines a dialogue between the nineteenth-century Paraguayan dictator known as Dr. Francia and Policarpo Patiño, his secretary and only companion. The opening pages present a sign that they had found nailed to the wall of a cathedral, purportedly written by Dr. Francia himself and ordering the execution of all of his servants upon his death. This sign is quickly revealed to be a forgery, which takes leader and secretary into a larger discussion about the nature of truth: “In the light of what Your Eminence says, even the truth appears to be a lie.” Their conversation broadens into an epic journey of the mind, stretching across the colonial history of their nation, filled with surrealist imagery, labyrinthine turns, and footnotes supplied by a mysterious “compiler.” A towering achievement from a foundational author of modern Latin American literature, I the Supreme is a darkly comic, deeply moving meditation on power and its abuse—and on the role of language in making and unmaking whole worlds.
Leading English-language account of the fall of Lula’s Workers’ Party and rise of Bolsonaro and the New Right What does Brazil’s lurch to the hard right under Jair Bolsonaro portend for Latin America’s largest country, and how has it come about? Always something of a world unto itself, Brazil became, under the Workers’ Party from 2003 to 2016, “the theatre of a socio-political drama without equivalent in any other major state.” Bucking the global trend towards a tighter neoliberalism, former steelworker Luiz Inácio Lula da Silva swept aside the broken promises of previous years to invest in social transfers, defying vituperations in the Brazilian media to become the most popular ruler of the age. But in a second spectacular reversal, a parliamentary coup d’état against Lula’s successor—backed by forces in the judiciary and a youthful New Right—has been consolidated by Bolsonaro’s 2018 capture of the Planalto. With the PT’s lodestar now behind bars, a weighing up of his legacy, and of the contrasting Bolsonaro regime, is urgently needed. Brazil Apart is the sharp-edged, comprehensive analytic account required.
First published in 1999, this volume examines the impact of political, social and cultural developments on the nation’s most popular musical form, samba, in the context of the period 1930-45, one of huge social change in Brazil, with the introduction of industrialization under the authoritarian regime of Getúlio Vargas. She looks at the context in which the songs were written, the life styles and social positions of the composers (sambistas), and their relationship to political and commercial structures. By studying samba lyrics we can obtain a clear picture of samba lyrics we can obtain a clear picture of samba’s shifting status as it was transformed from the music of working-class blacks and was appropriated by mainstream middle-class culture. The final chapters of the book focus on the lyrics of three influential sambistas: Ataúlfo Alves, Noel Rosa and Ari Barroso, and look at the manner in which their songs both comply with and flout tradition and authority.