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No presente trabalho, pretende-se realizar uma investigação acerca das relações entre melancolia, enunciação e literatura, especificamente, em três grandes nomes da poesia contemporânea em língua portuguesa: Noémia de Sousa (Moçambique), Florbela Espanca (Portugal) e Ana Cristina Cesar (Brasil). Para tanto, foram selecionados textos em que se verifica a recorrência da dicção melancólica como traço constituinte da lírica de cada uma das poetisas. Pretende-se, com tal análise, verificar que a constituição de uma poética da melancolia nessas autoras, resguardados os devidos panoramas histórico-culturais, instaura-se no limiar entre os questionamentos existenciais do indivíduo e a crítica aos modelos institucionais e às questões políticas e sociais vigentes, estabelecendo um processo que reverbera uma melancolia coletiva na voz do eu-lírico.
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This essay is a brief study of translation as a practice of aesthetic resistance seen from a historical and philosophical perspective. Translation is perceived as the process of transition and negotiation within the ‘third space' between various different hybrid cultural contexts and their discursive constraints, and referred to as ‘paratranslation'. It summarises the first attempts to think of translation as an almost ‘holistic' paradigm and the aesthetics of intervention from Romantic philosophy onwards. It attempts to show how Walter Benjamin's master narrative, the utopia of ‘pure language', encourages continuous resistance to the totalitarianism of the idea of the ‘original', to aesthetics (within the sense of the perception of the real) and to dominant discourses. It subsequently defines the idea of ‘progress', which considers translation as aesthetic resistance, as a process of construction in constant deconstruction. It concludes by exemplifying the notion of translation as a paradigm of intervention in modernity with a brief analysis of the transcreation performed by Erin Mouré on Fernando Pessoa/Alberto Caeiro's poetic cycle, O Guardador de Rebanhos (The Keeper of Sheep).
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