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Música: entre o audível e o visível (Portuguese Edition)
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These miseries and anachronisms are of little help in reading Belo's poetry in the context of the twenty-first-century republic of letters; in other words, in making it contemporary. My contribution to such an undertaking is to show how Belo inscribes in the temporality of his verses a stage in the history of how the Portuguese became hedonists, and does so — much better than Pessoa — regardless of the thematic sadness suffusing so many of his poems.

The poet is faced with the difficult problem of the co-existence, within the poetic text, of contradictory stances. This is the most intense contradiction of Belo's poetry, and it is of religious nature, as was the case, in an altogether different context, of Camoes's epic as pointed out by Almeida Garrett in Travels in My Homeland. Unlike what happens in Sena, Belo's inscription of this discrepancy in time fortunately does not beget a set of rules that confine temporality to a dialectical version of history.

Let us locus then, hrst ol all, on time as the condition of possibility. A scrutiny of the conditions of possibility for Belo's orange brings us to the question of time. The answer to this question, in the context of the poem, requires a consideration of, in the first place, the art of painting, along with the hands that paint in order to make sense, and the discipline of this art of emotional restraint, and secondly, the act of looking at painting or, more precisely, of having seen an orange painted in a picture.

This anti-Aristotelian explanation is well known to us and has its origin in some of Oscar Wilde's maxims about art and life or in the work of the outstanding art historian Ernst Gombrich. Art as challenge and aggressiveness is refuted by time through an unannounced shift of register that is such a recurrent surprise of this poetry. Only for a while does the orange deny the course of time.

The orange that is eaten becomes part of the cycle of metamorphosis by means of death. In other passages of the text, the poet occupies the place of the orange in time. Do painted oranges die? In the terms of the poem — and these are the only terms we have at our disposal — the relationship between the image of the poem and death is not clarified, so the issue whether the painted orange, or in other words art, entails an effective suspension of time is filed away as a matter that defies resolution. Time does and does not allow itself to be subsumed by space. Nonetheless, in Belo's works poetic thought on time asserts itself vigorously as a reversal of the linear time inherent to the notion of progress.

The much-quoted Nietzschean and Wittgensteinean cognitive vision that informs both Belo's poetry and my own reading invalidates the charge that Ruy Belo is unable to escape the distress of being an heir to Pessoa's Alvaro de Campos. Let us have a look at the standard version of the history of progress.

Birds preceded airplanes, airplanes emulated birds. In this poem, however, airplanes come before birds. In a more abstract formtilation, effects can produce causes; if we were to look for an Illustration of this claim in Belo's poetry, the very particular case of God who in time changes into a god may be read as the cause of man, but in Belo's terms it is man who can be read as the cause of God. In a necessary aside, let us note that the prevailing point of view in Belo's poetry is manifestly male, and that as such it recalls, by means of a displacement, the representation of modern Man still on display at the Natural History Museum in Washington, DC: a s white-collar male worker with his grey suit, tie, and black briefcase.

Let us collect the objects corresponding to this scheme that have been mentioned so far: the natural orange A and the painted orange B ; birds A and airplanes B. The works of art technics, techne precede and produce nature. Let LIS move now to a second aspect of temporality: the paradoxical time after death which, for Belo, is not configured as a liberation from death through salvation.

Braqtie is one of the artist heroes whose funeral Belo stages in his poetry. And the funerals in Todos os Poemas are many, allowing lis also to regard this poetry, even in statistical terms, as an obituary. The poem on Braque poses several pertinent problems related to the issue of time in Belo's poetry, most prominent among them the problem of time after death.

What is this particular time like? Foi atraves dum titulo inserido num jornal alheio no metro por acaso de vies olhado qiie eu soube que saiste da velhice para entrar nao se sabe bem onde mas decerto na terra dentro em pouco We know that in Belo's anthropology of death the dead get buried and that the poet has dedicated unforgettable verses to the act of burying.

As we shall see, Belo's poetry as a whole presents a number of postmortem fictionalizations. Braque's death presents an opportunity for art and for Belo's affiliation with modernity. Here we are again in the realm in which trust needs to be deposited on the side of the poem and not in the experiment one may wish to perform, of leaving footprints in the sand, noticing their disappearance, and investigating that something remains. This is a minimalist version of art's time after death, which secures the permanence of the poem's orange.

Braque becomes here the generic modernist hero: Tu e os tens amigos dos princi'pios deste seculo de maquinas de tecnicas de pressa de vertigem devolveram ao mundo o seu passado e rcduziram a distancia entre nos e a nossa origem - 15 The modernist accomplishment is an exploit directly related to time.

To paraphrase quickly what Belo tells us, there was a time when the world was deprived of its past. Lhen, resorting to machines and techniques, Braque and his friends restored the past to the world. Thus, through a contraction of time — that is the implied corollary — we have come closer to our past. This is an exceedingly rough game, even if one keeps present the awareness of verses being nothing but verses.

What are the stakes here? Within the temporal economy of the poem, Belo attempts to buy time. Fenn ascribes to it, that is, as a possibility to experience, in a reasonably harmless way, as is the case of poetry, certain emotions related to a situation that threatens to annihilate the subject. As we know, in Belo's work the man who dies is the man who chooses to die. The poet's venturing into death reaps symbolic gains. The anxiety of time is retrospective; it comes from a future death, and thus is experienced by a subject who has already lived in a bought time.

One can hardly think of a better function for poetry as a transport in time. This brief poem and the others in Belo's collected poems, Todos os Poemas, that belong to the same family recall an episode in Francis Ford Coppola's film Rumble Fish, in which the central character, in a compensatory move, dreams of his own death and of the death of those surrounding him. Belo's poetry requires a rhetoric of temporality for strategic reasons. The tension at the origin of this need results, as we have seen, from the main contradiction that permeates Todos os Poemas; we shall call it religious for short.

Instead of the Nietzschean death of God, in this poetry we see God metamorphosing into a god in language. Belo needs time to accommodate his thorny distinctions: the poet of , the poet of , and so forth. The third aspect of time in Belo's poetry that I will touch upon is mostly implicit in his writing, but it may be discerned in the concluding lines of a number of his poems. Other characters in the poem also join this family of figures that want one thing now and then another, or who are supposed to talk about something and then talk about something else.

This is what happens with the writer Vitorino Nemesio appearing on TV , who instead of speaking of Christ speaks of the Neolithic precisely a time when there was no Christianism yet. With this distinction marked between himself, on the one hand, and, on the other, the younger Joao Miguel a distinguished poet since the s and Belo's wife Maria Teresa, Ruy Belo stages his own identity as that of the resigned protagonist of the end.

Consummatum est. I liis reincarnation in pjiglish has benefited vastly from the input of Anna M. Klohucka and Maria Antonia Amarante. Very summarily, the first phase was concerned with English poetry, the second with the theory of infitience, and in the third stage of his work Bloom assumed the role of a popular critic.

A Map of Misreading. The first and the second Bloom are certainly among the small number of the most decisive literary critics and theorists of the twentieth century. See Frank Lentricchia and Andrew Dubois, eds. Close Reading. Durham and London: Duke UP, In Belo's poetry, time in not treated as spacelike, but as that which makes it possible for space to exist and encompasses it.

Fish confronts us with the concept of modern or modernist analysis that reduces time to space, thus allowing for a unified vision of time. In Ruy Belo, no such unified vision blocks discontinuous temporality, but thematic criticism of his work — invested as it is in the content of time as a theme — is methodologically unable to move beyond making note of the essence of time through its examples, remaining blind to what I am calling the grammar of time in Belo's text.

One of the most consequential formulations of the expansion of the present, coupled with a critique of transcendental assumptions, may be found in the work of Flans Ulrich Gumbrecht. Oxford: Oxford UP, Chicago: I'he University of Chicago Press, It would be a highly promising vein of analysis to read Joao Miguel Fernandes Jorge's poetry as a response to Ruy Belo's. For example, Fernandes Jorge's writing evidences a recovery ot certain notions that had been rejected by Belo.

Victor K. E-mail: vmendes Limassd. In this essay I primarily intend to provide the American public with an introduction to the poetry ol Herberto Helder. The poet is a faker He fakes so completely That he fakes the pain He is actually feeling. It is one, or, rather, it is the only cult that we have been officiating for centuries, with passion and more or less guaranteed success [ All our modernity has lived until today off of this inven- tion ot Poetry as Myth. In reality, more books of poetry are annually written, published and pur- chased in Portugal than in most European countries.

Similar to Spaniards and Latin Americans, the Portuguese reward their favorite writers — particu- larly their poets — with considerable acclaim and public reverence. Poetry readings are popular social events. A popular representation of our most celebrated poet, Luis de Camoes, shows him as a fierce street brawler and a passionate seducer of courtly ladies. Highly romanticized, heroic legends such as these are part of our national folklore. In Portugal, despite relatively high illiteracy rates and even higher func- tional illiteracy rates literature in general has a widespread, popular, democra- tic prestige — if an elitist readership — and poetry holds an even stronger appeal.

Yet these books — in what, sociologically, constitutes a very intriguing behavior — often remain unread, yet proudly on display in many a living room bookcase. They are revered by a large segment of the public while often exhibiting a certain disdainkil aloofness towards the applause of this same public. Frequently — either out of vanity or out of humbleness — they resent the insistent inquiries of literary supplements, the obligation to par- ticipate in book promotions and, particularly, what they interpret as the intrusiveness of literary journalists and of the public in general.

Who is Fderberto Fielder? Fierberto Fielder is widely considered one of the most important poets since Fernando Pessoa, if not the most important. Fie was born in in the Madeira Islands, Portugal. In he published his first book of poetry, O Amor em Visita. In the rest of the world, with the exceptions of Brazil, Spain and Prance, Herberto Helder is either a completely ignored author or is relegated to the status of an exotic and harmless CLiriosity.

In Portugal, Helder is still vastly unknown to the majority of our population, although his name recognition has been steadily growing among the most active members of the reading public. In this essay 1 primarily intend to provide the American public with an introduction to the poetry of Herberto Helder. The reception It is thus a [critical] move drenched in humility, although it is often performed with righteousness: those other fellows may be interested in displaying their inge- nuity, but 1 am simply a servant of the text and wish only to make it more avail- able to its readers who happen also to be my readers.

For the past fifteen years or so, a number of critics have expressed positions that are, at best, contradictory. On the other hand, scholarly stud- ies on Helder are perceived as scarce, timid, or insufficiently productive. Many critics have already referred to this contradiction. The result of this confessed humiliation is a type of aphasia.

Juliet Perkins adapted her doctoral dissertation and published it under the title The Feminine in the Poetry of Herberto Helder. More recently, Silvina Rodrigues Lopes, who had previously writ- ten articles about Helder, published a book exclusively devoted to the poetry of this author: A Inocencia do Devir. Many of the texts that proclaim themselves analyses of Helder s poetry often turn out to be little more than tearful homages to the author. In other words, critics have contributed to rigidifying the myths, to thickening the mystifications and to cultivating the prejudices instead of dis- pelling them.

Few critics have attempted to do what, in my opinion, needs to be attempted: a kind of reading that would contribute to the dismantling of the esoteric reputation that surrounds his works so that freer, less fearful, less apolo- getic — and ultimately, more consequential — studies may come forth. Poetry such as this speaks a demoniacal idiom — it is some kind of absolute force. To that which is close we cannot get closer without risk and, yet, without our approaching it the poem would not exist for us.

Maybe our approximation should be a ritual in which the offerings are words drunk with meanings and danger. Maybe we should be silent and choose instead words whose rumor becomes the brief breath of the wind. Later, as we find out that it is true, we still do not know what to say or what to do [with the poems] — for the fear of jumping into the unknown is great [ We may call him difficult, hermetic, obscure, but that obscurity is the obscu- rity of someone who protects his mysteries to better illuminate them from the inside.

As for us, before such an intense and different light, maybe we are simply blind. This is so because at the heart of the institution is the wish to deny that its activities have any consequences. This idea is in agreement with the generally accepted principles of Modernism and still appears to be among the most popular characteristics of the movement as it has been interpreted by many critics.

This belief may have, in part, legitimated some positions of passive resigna- tion toward what is perceived as the inscrutability of the literary text. Yet, just as she did in , she still defends the incomprehensibility of texts: [T]he poem shuts itself to the devastating curiosity, to the way it is cryptic, and its key does not open, rather, it closes — [the poem] closes itself [to scrutiny, to curiosity] as a tomb, sealed, absolutely non-desecratable, a memory stone, an epi- taph. One cannot read into things while simultaneously lecturing the reader about the unreadability of things.

This particular reading by Lopes exemplifies one of the most disappointing aspects of some contemporary styles of criticism. And even if one of them suddenly pressed me against his heart, I should fade in the strength of his stronger existence. The original poem by Helder reads: I play, I swear. It was a childhoodhouse. I know how it was an insane house.

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I would stick my hands in the water: I would fall asleep, I would re-remember. Mirrors would crack against our youth. When asked about the autobiographical overtones in his book of short stories. Many years ago, Helder offered a journalist the following rhetorical advice: Falk to a child. Is it unintelligi- ble myself being green and the child being orange? It is. But I comprehend it. Those who do not please go away. The suspicion that the dead — a theme that in Helder has comforting, positive, connotations — interfere and collaborate in the lives of the living is more than just curiously common in Poesia Toda — it is a defining recurrence in this poetic universe: I try Both worlds share a strong magical dimension.

I have heard that they breathe, they run across the dew, and then they lay down. They are sweet equivalencies, lights, pure ideas. Scenes of con- frontation between the poetic subject and God are far from being occasional. This cosmic rivalry is, nevertheless, not a balanced one. Basic children turn me into a raging rose and they throw it against the mouth of God. The power of the poet derives, in part, from the power of his creatures and of his creations. Poetry is, therefore, the fittest weapon to be used against the greatest possible enemy — the one that cannot be defeated: It is necessary that God free himself from my fabulous gifts [as a poet].

WPoesia Toda These three Helderian themes — three among many more that are possible in Poesia Toda — have one thing is common. They possess an undeniable dimension of sublimity — which, historically, has been in close association with supernatural representations Voller Burke, qtd. On poetry A particular mythicization of poetry is at work in Poesia Toda. A myth that is, nowadays, strangely cultivated by critics themselves, as noted earlier by Fish.

Helder de- legitimates the critical act, which is, to him, incorrigibly illicit or, at least, inherently suspect. Critical commentary is always an act of violence commit- ted upon the literary work: The poem is centered in itself, monstrously solitary? It is not in a hurry, it can wait to be taken out of its isolation, it possesses enough expansive forces, take it out of there. Yet, either you take it whole, with its center in its center, and harnessed all around as a living body or you do not take a thing from it, not even a fragment. And what one often does do is smuggle pieces of it: we remove the wrong part of it, we transfer it to the wrong part of ourselves, towards some wrong place: Philosophy, Morals, Politics, Psychoanalysis, Linguistics, Symbology, Literature.

Where is its body and where is its life and its integrity? Where is the solitude of its voice? Because it is mandatory to say this: few people [few readers, few critics] possess pure ears. Or clean hands. To read a poem is to be capable of making it, of re-making it. In the following passage he is showing an obvious nostalgia for Romantic, pre-mod- ern times. As he denounces the enemies of the poet — which are also, naturally, his own enemies — the excerpt provides us with a Poetics.

That which is not searched but found is over, that which is magically and ardu- ously and profoundly found, that is over. This is not the time to praise poets that declare: we are not modern. What a bunch! Expel them from the Republic. Success, in particular, can be dangerous. One should he available to disappoint those who trusted us. Disappointing them is guaranteeing the move- ment. The confidence that others have in us is entirely theirs.

What concerns us is another kind of confidence. I he fact that we are irreplaceable in our adventure and that no one will pursue it for us. Writing about another Portuguese poet, Edmundo de Bettencourt, Helder praises the fact that, at some point in his life, Bettencourt stopped writing when he felt that Portuguese society — then under the New State dictatorship — no longer offered him conditions to pre- serve his integrity as a poet. Helder praises the fact that Bettencourt was being faithful to his own mission.

Very few comparative observations on the two authors were ever published. A text by the late poet and critic Luis Miguel Nava is among the few that compare the two authors. Nava once said that, similarly to what Pessoa had represented in the time of Orpheiu both Ruy Belo and Fierberto Fielder constituted important land- marks beyond which the landscape radically changed.

In different ways, both Ruy Belo and Fierberto Fielder represented the convergence and the matura- tion of a host of different tendencies that originated in previous generations Nava Both Helder and Pessoa lived during periods that were later considered crossroads in Portuguese letters. Both authors — in various ways, and to vary- ing degrees — have inHuenced all of the generations that followed their own. He even invented a poet who, wrote as one of our most unlikely bards — the unsophisticated, barely literate, Alberto Caeiro, the shepherd.

His poetry pursues and celebrates the de-humanization of the poet, the isolation of the poetic subject, his incommunicability. Pessoa wished to implement, in a sense, liter- ary democracy. Helder is exactly at the opposite end of the spectrum. What appears as SLibjective emptiness in Pessoa is equivalent to excessive, celebratory, defiant identity in Helder. A super-assertive, highly self-centered personality contrasts with a fragmented, multiplied or emptied subjectivity. As is well known, Pessoa once prophesized the advent of a poet who would surpass Camoes in cultural and national importance.

Jardines del Pedregal de San Ángel

This poet would appear one hazy morning in the Portuguese Republic of Letters and rescue its literattire from the threat of insignificance. One may argue that Helder is here building his own Super-Pessoa prophecy. One needs to be between two moral worlds in order to transgress the rules of one of them; in order to be accused of the sin of insincerity. Might sincere souls be lake me, without knowing it? Before the lie of emotion And the fiction of the soul, I cherish the calm it gives me To see flowers without reason Flowers without a heart.

Fielders poet displays the haughty humanity of a demigod in the same way that angels and demons share human traits with humans without being human. Fiis domain — the magical — is that of the non-human and that of the non-real. There are no tobacco shops in these otherworldly landscapes and, if there were, their owners would certainly — frighteningly — not be smiling by the door. The anthology was immediately heralded as a representative sample of the main poems and poets of the twentieth century in Portugal.

The book — due to the ambitious nature of the project — had an unusually important impact beyond the community of critics and academics. A protest over the exclusion of one poet — Manuel Alegre — was made by one parliamentary group; the entire event drew considerable national media coverage and lively debate in differ- ent national venues. In each new edition, major revisions and changes were introduced by the author — to the point of causing dilemmas in the critical community as to which edition should be used when ana- lyzing a particular poem.

Nevertheless, ignoring the perceived suggestions of the author, most critics myself included have continued to utilize the previous editions of the book as the scholarship on the author slowly evolves and proliferates. Herberto Helder is, in my opinion, a borderline case. Doctoral dissertations: Dal Farra, Maria Lucia. Helder is known For refusing to grant interviews to any Portuguese publications since the s.

He has rejected important literary awards and monetary prizes. In his own writings and on the tew occasions when he has publicly commented on the reception of his works — he has displayed an attitude of general hostility toward the work of the critics, the publishing establishment, and the marketing of literature.

On many occa- sions Helder presents his own translated excerpts of Biblical texts. Quoted from the edition vol. The last verses read as follows: The man has come out of the Tobacco Shop putting change in his pocket? The Tobacco Shop Owner has come to the door. As if by divine instinct, Esteves turns around and sees me.

Lisbon: PreseiKja, Burke, Edmund. Coelho, Eduardo Prado. A Node do Mundo. Lisbon: Imprensa Nacional, Dal Farra, Maria Lucia. Lisbon: Imprensa Nacional — Casa da Moeda, Coimbra: Almedina, Ferguson, Frances. Solitude and the Sublime: Romanticism and the Aesthetics of Individuation. New York: Routledge, Fish, Stanley. Is There a Text in this Class? The Authority of Interpretive Communities. Cambridge: Hars'ard UP, Freitas, Manuel de.

Guerreiro, Antonio. Guimaraes, Fernando. Helder, Herberto. O Amor em Visita. Lisbon: Contraponto, Apresentacdo do Rosto. Lisbon: Ulisseia, Jornal de Letras e Artes [Lisbon] 27 May : A Colher na Boca. Lisbon: Atica, By Antonio Jose Porte. Os Passos em Volta. Ou 0 Poema Continuo. Poesia Toda. Lisbon: Plarano, Lisbon: Portugalia, Publico [Lisbon] 4 Dec. Ultima Ciencia. Ladeira, Antonio.

Osvaldo Manuel Silvestre and Pedro Serra. Lisbon: Cotovia, Ana Harherly e Silvina Rodrigues Lopes. U of California at Santa Barbara, Letzring, Monica. Lind, Georg Rudolf. Estudos sobre Eernando Pessoa. Lisbon: Imprensa Nacional-Casa da Moeda, Longinus, Cassius. James Arendt and John M. New York: E. Mellen, Lopes, Silvina Rodrigues. Lisbon: Litoral, A Inocencia do Devir. Lisbon: Vendaval, Macedo, Helder and Ernesto Melo e Castro, eds.

Contemporary Portuguese Poetry Manchester: Carcanet, Marinho, Maria de Fatima. Lisbon: Arcadia, Martins, Manuel Frias. Herberto Helder: Um Silencio de Bronze. Lisbon: Horizonte, Magalhaes, Joaquim Manuel. Lisbon: A Regra do Jogo, Perkins, Juliet. The Perninine in the Poetry of Herberto Helder. London: Tamesis, Pessoa, Fernando. Richard Zenith. New York: Grove, Lisbon: Ulisseia. Pinto do Amaral, Fernando. Rilke, Rainer Maria. Duino Elegies.

Leishman and Stephen Spender. New York: W. Norton, Hanover: UP of New England, Silvestre, Osvaldo Manuel e Pedro Serra, ed. Voller, Jack G. Dekalb: Northern Illinois UP, He was a lec- turer in Portuguese and Lusophone literatures at Yale University He holds a Ph. His dissertation is on poetic subjectivity in Herberto Helder. His current research interests include con- temporary Luso-Brazilian poetry and fiction and Portuguese-American literature. He has also published two books of his own poetry. Email: antonio. Os Passos em Volta de Herberto Helder, publicado pela primeira vez em , e o unico volume de contos numa obra predominantemente poetica.

O modo discursivo por excelencia destes contos e o ironico. Eu sugiro que estes dois factores inviabilizam as estrategias de leitura monologicas atras mencionadas. Na sua monumental historia pessoal, o fracasso de instituiu-se como inkio em maturidade de uma poetica radicada na inevitabilidade do dizer e do fazer poeticos. Para exemplificar a sua teoria, o homem ironico alude a historia do medico que Ihe receitou remedios para a loucura, e a do homem velho que, apesar de nao ter ja muito que esperar da vida, nao prescindia do amor, e entao amava as flores.

Enfim, nao seria isso mais nobre, digamos, mais conforme ao grande segredo da nossa humanidade? Aplico-o a noite, quando acordo as quatro da madrugada. E simples: quando acordo aterrorizado, vendo as grandes sombras incompreensiVeis erguerem-se no meio do quarto As vezes uso o processo de esvaziar as palavras Digo-a baixo vinte vezes. Ja nada significa. A ironia aparece intimamente ligada a um conceito tambem composicional em Herberto Helder: a metamorfose. O pintor, mais do que o filosofo, e interprete do principio transcendente com o qual o homem comunica atraves da arte.

A verticalidade do ponto de vista e entendida como a que mais fielmente representa o real a paisagem por ser a unica capaz de o contemplar atraves de varias perspectivas. Herberto Helder ensaia assim nestes textos uma poetica do realismo que decorre nao so da constante auto-reflexao da pratica artistica, mas que pretende ser igualmente uma tomada de posigao na polemica que desde os anos 40 opunha neo-realistas, presencistas e surrealistas.

A questao que se Ihe coloca e a de traduzir essa mesma realidade para o quadro respeitando a sua natLireza mutavel. Era a lei da meramorfose. Compreendida esta especie de fidelidade, o artista pinroii um peixe amarelo. Recordo que e nos anos 60 que Lacan, influenciado pelos surrealistas, define o real em termos de trauma.

Nestes casos, o sentido deriva da repeti ;ao. O poema consegue o vazio que Deus habita Diogo A ironia como metodo tern em Kierkegaard o seu cultor etico por excelencia. Para este filosofo, a ironia nao e apenas um momento de negatividade necessario Hegel , mas representa o inicio da SLibjectividade. E se identificamos em Herberto Helder grande parte da gramatica do Surrealismo, a conHuencia do modernismo tardio com a logica das vanguardas resultou numa Riga a escola contrapondo-se a ela uma solidao auroral oti uma mitologia pessoal Diogo Solidao auroral ou mitologia pessoal indicam uma instancia intra-literaria, formada no texto ou na obra, de maior impacto em textos liricos, isto e, naqtieles textos que exp5em uma experiencia Rmdada ntim Eti.

A poesia encontra-se assim no centro da experiencia literaria como a forma que mais claramente afirma a especificidade do dominio do literario Culler Esta e a problematica de que me ocupo em seguida. A proximidade entre estes textos, stibordinando-os no entanto a matriz lirica, favorece uma coesao textual que passa por uma coesao da instancia enunciativa. No mesmo ano em que Roland Barthes proclamava a morte do Autor , Herberto Helder prometia-se ao silencio. Parecendo que coincidiam os animos destrutivos, eles encontravam-se na verdade em campos bastantes distantes.

No entanto, o decreto de Barthes abalou estruturas que nao podem ser destruidas, como provam os discursos de minorias que sempre se aprestam a recuperar a figura do Autor, ainda que recusem um modo autoritario de garante do sentido. A razao para este aparente paradoxo reside na impossibilidade de fazer desaparecer as posigoes de sujeito: ascendendo da morte do Autor, podera o leitor substituir o autor textual? Pretendo agora articular estas questoes com a obra de Herberto Helder. Impotencia e impostura, qualidades tragicas da linguagem poetica, passam a significar uma vivencia em crise e a falencia do sujeito.

E assim que autores como Baudelaire resolvem triunhmtemente a vida na obra, e analogamente, outros como Rimbaud abandonam a literatura. Ao evidente fracasso do decreto vivido como uma descoberta corresponde a necessidade de o narrar, a expressao da aporia so podendo ser feita pelo poeta capaz de expressar a ambiguidade da sua condi ;ao.

The Rhetoric of Romanticism Para De Man, um texto no qual o autor declara ser o sujeito do seu proprio entendimento autobiografia nao difere funcionalmente de quando um sujeito reclama a autoria de determinada obra; nos dois casos estamos perante uma serie de substitui 9 oes especulares de autoria. Em nenhum texto de Herberto Helder esta especularidade e explicitada por via do nome: nunca o nome do autor aparece gravado em outros lugares alem da primeira pagina. Neste momento recorro ao trabalho de Helena Biiescii na sua analise da instancia do autor na obra The Alexandria Quartet Lawrence Dtirrell.

Defende Buescu que A segLinda prende-se com o facto de o efeito do autor textual da obra herbertiana se potencializar virtualmente em todos os seus narradores. Nao pretendendo debater a questao do efeito de autor na obra-prima de Durell, transfiro esta problematica para Herberto Helder em cuja obra esta questao e certamente mais complexa. Se o papel do leitor consiste em validar a aiitoria destes textos, Lima tarefa que Ihe cabe e de verificar os dados biograficos. Vemos que, ao contrario do que foi dito acerca dos quatro romances de Lawrence Durell, o efeito autoral n Os Passos em Volta confunde-se com e implica-se em cada um dos narradores sem, ao mesmo tempo, o fazer explicitamente.

Dever-se-a talvez falar de efeitos de autor sem abandonar a possibilidade da sua confluencia num fmico — isto e, nao submetendo a priori o texto a tirania do fmico. Seguindo esta leitura, Os Passos em Volta nao obedece a uma logica temporal que o estabelece como variance em prosa de Poesia Toda mas como unidade- com unidade em equidistancia descentralizada desta. Obras Citadas Barthes, Roland. Roland Barthes: Oeuvres Completes. Paris: Seuil, Blesa, Tua. Los trazos del silencio. Zaragoza: Departamento de Linguistica General e Hispanica, Buescu, Helena Carvalhao.

Em Busca do Autor Perdido. Historias, Concepgdes, Teorias. Lisboa: Cosmos, Capel, Lee M. The Concept of Irony. With Constant Reference to Socrates. Soren Kierkegaard. Culler, Jonathan. Structuralist Poetics. Structuralism, Linguistics and The Study of Literature. A alquimia da linguagem. Leitura da cosmogonia poetica de Herberto Helder. Lisboa: INCM, Aesthetic Ideology. Minneapolis: U of Minnesota P, Diogo, Americo Anonio Lindeza. Herberto Helder: texto, metdfora, metdfora do texto. Coimbra: Livraria Almedina, Foster, Hal.

Gtismao, Manuel. Vol 1. Lisboa: Verbo, Os dots crepiiscidos. Sohre poesia portuguesa actual e oiitras cronicas. Lisboa: A Regra do Jogo, Marinho, Maria de ILitima. Herberto Helder. A ohra e o homern. Lisboa: Editora Arcadia, Merquior, Jose Guilberme. Miller, Hillis. Michael Clark. Revenge of the Aesthetic. The Place of Literature in Theory Today. Silvestre, Osvaldo. Revista de teoria e critica. E actualmente professora assistente de literatura portuguesa e espanhola na Universidade de Purdue, Indiana. De momento os sens estudos centram-se na poesia portuguesa e espanhola de mulheres, com particular enfoque na poesia galega contemporanea.

Universitat de Barcelona E-mail: soliveir purdue. Klobucka Abstract. I he rigorously inventive lyric of Luiza Neto Jorge , one of the most distinctive voices in Portuguese poetry since the s, cultivates as its substantive and instrumental lulcrum a consistent emphasis on gendered corporeality. One of the most distinctive voices in Portuguese poetry since the s, at the time of her death in Luiza Neto Jorge left behind a body of work as compact as it is intensely and rigorously inventive.

Bern, eti acho que, acima de tudo, ha entre nos afinidades que so indirectamente tern a ver com a poesia! Depois sera talvez mais facil, mais possiVel, a total reconstriigao, formas e ideias novas. Concomitantly, her inaugural volume of poetry, A Noite Vertebrada, adopted as its leading motif the rhetoric of spatial and temporal immobility destabilized by breaking loose into a freer, more fluid and unpredictable time and space. Voii correr mundo, vou matar-me. Emancipada da noite, livre indoloridamente, minha angustia despediu-se, lambeu-me as maos. This predilection may help explain her success both in assimilating the surrealist legacy and in escaping the peril of perpetuating some of its more cliched formulas and facile venues of expression.

Nao desces aquela cave onde estao os oceanos c os jLiramentos Hquidos. Se o atomo e divisiVel so o poeta o diz. A divisibilidade da luz aclara os misterios. A mulher tern filhos. ANNA M. As Grosz comments, [Body fluids] affront a subjects aspiration toward autonomy and self-identity. Body fluids flow, they seep, they infiltrate; their control is a matter of vigilance, never guaranteed. Whether by the force of a religious exorcism or by the magic of a love philter, tears and pus become distinct substances, but, as the poem has already implied, both religion and love also provide ample ground for the confusion of these and other efflu- ences of bodily matter.

Taken jointly, how- ever, they do seem to indicate a more comprehensive change of perspective in Portuguese cul- tural discourse, from a generalized denial ol any meaningful symbiosis between feminist com- mitment and literary value to an at least partial recognition that a specifically female perspective and identifiably feminist concerns occupy an important place not only in Western literary tra- dition at large, but also — and particularly — in the twentieth- and twenty-first-century Portuguese modernity. It is significant that such remarks have tended to appear in reviews of new collections published by women poets writing in Portugal today, most notably those, such as Ana Luiza Amaral, who openly signal their aesthetic and ideological indebtedness to femi- nism.

Private jokP. Recurso ao sfmbolo? Works Cited Bachelard, Gaston. Paris: Quadrige, Battersby, Christine. Gender and Genius. Towards a Feminist Aesthetics. Bloomington: Indiana UP, Baudelaire, Charles. Oeuvres completes. Paris: Robert Lafont, Cixous, Helene. Douglas, Mary. London: Routledge and Kegan Paul, Gatens, Moira. Feminism and Philosophy. Perspectives on Dijference and Equality. The Madwoman in the Attic. New Haven: Yale UP, Grosz, Elizabeth. Volatile Bodies: Toward a Corporeal Teminism. Guerreiro, AnttSnio. Gusmao, Manuel. Horta, Maria deresa. O Independente 29 Junho : Irigaray, Luce.

Catherine Porter. Ithaca: Cornell UP, Jorge, Luiza Neto. A Lame. Lisboa: Assirio e Alvim, Kristeva, Julia. Os Dois Crepusculos. Marinho, Maria de Latima. O Surrealismo em Portugal. Lisboa: IN-CM, Martins, Lernando Cabral. Moi, Toril. London and New York: Routledge, Nava, Luis Miguel. Alguns aspectos da poesia de Luiza Neto Jorge. Riffaterre, Michael. Semiotics of Poetry. Bloomington: U Indiana P, Rosemont, Penelope, ed. Surrealist Women: An International Anthology. Austin: U Texas P, Spivak, Gayatri Chakravorty.

Mark Krupnick. Anna M. E-mail: aklobucka umassd. Son of man. You cannot say, or guess, for you know only A heap of broken images, where the sun beats, T. Eliot, The Waste Land Escrever sobre Antonio Franco Alexandre, poeta portugues, nascido em Viseu em , e professor de Filosofia na Universidade de Fisboa, e certamente uma tarefa difkil por tres motivos de relevancia desigual.

Por exemplo, Americo A. Em segLindo lugar, Antonio Franco Alexandre cria alguma instabilidade em describees de indole periodologica, assentes geralmente em criterios que registam homologias de interesses tematicos e de procedimentos literarios. Felizmente, tais discordancias so podem suscitar um alargamento da extensao conceptual da expressao regresso ao sentido. Concordo que esta e certamente uma boa describao do muito que se passa em muitos poemas de Antonio Franco Alexandre, mas so com alguma flexibilidade teorica e que a percebo como uma describao visivelmente complementar e contigua das primeiras definiboes de regresso ao sentido.

Esta recusa do cepticismo e proporcional a qualidade da experiencia epifanica que resultou da leitura do texto e que as nossas teorias poeticas mais disponiveis enquadram conceptLialmente ou resolvem nos casos mais dramaticos. Inversamente, quando nao conseguimos perceber nada ou quase nada de urn texto, esta recusa infrutifera do cepticismo, que, paradoxalmente, nao encontra sequer um objecto conceptualmente estavel acerca do qual possa duvidar, tern como sintoma uma angiistia e desanimo extremos e o SLibsequente desespero semantico resulta numa especie de lesao da nossa integridade ontologica.

O interesse e originalidade da poesia de Antonio Franco Alexandre nao se situam apenas no problema ontologico que acabo de referir, sendo esse problema apenas um efeito colateral desta poesia. Antes se afigura, desde logo, como essencial o modo como se contesta a ideia segundo a qual a importancia.

Este e, penso eu, um aspecto essencial porque transfere a discussao do poema de topicos que habitualmente relacionamos com a mimese e o modo como o texto se relaciona com a realidade ou com outros textos, indiciando de forma mais ou menos evidente a sua propria leitLira, para a questao, aparentemente previa, da natureza da propria linguagem, enquanto suporte fisico de uma coisa chamada poesia e do sentido.

“Guardian”, photo by Hannah Fussell

Denuncia-se uma concepgao do poema e da leitura como espa 90 s de uma viagem erratica, sem destino definido nem protagonistas identificaveis, por imagens aparentemente aleatorias e convocadas por esti'mulos varios e imponderaveis. A mera sugestao desta hipotese deve pelo menos colocar o leitor de sobreaviso relativamente a um entendimento glorioso do valor da poesia, como alternativa epistemologica. Mais do que uma recusa, diria que se trata de uma especie de trabalho de Penelope em que, no entanto, a qtiantidade de tecido que se desfaz e superior a que se elabora, como se o unico fundamento do pouco que se tece fosse o muito que, depois ou no mesmo instante, se pode destecer.

O SLijeito que duvida e elidido por uma especie de autonomia nao deliberativa e precipitada que as diividas adquirem, mas que as esgota. A pornografia e um medium que dilui os corpos e os sentidos, uma vez que opera por sinedoque e localiza numa parte a irrelevancia do todo, amputando? As coisas parecem ser, assim, mais resistentes e recalcitrances do que o atitismo e o cepticismo de que, aparentemente, o poeta se protege relativamente a elas, a sua existencia e ao que, por prosopopeia, Ihe ditam.

O fim ultimo e, como sustentarei, a dissolu 9 ao pela e na linguagem quer do poeta quer das coisas.

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Pelo exercicio da poesia, descobre-se que a linguagem existe enquanto evidencia material cega e muda. Como contraprova do cepticismo, a linguagem remete, no entanto, para uma recusa e um vazio. Hies sao principals sobretudo no sentido de primeiros, i. Sao principals na medida em que sao absolutamente incaracten'sticos, do ponto de vista do valor, e portanto assumem Lima autonomia colectiva indistinta que os faz presentes e principals de um modo absokito, nao sujeitos a hierarquias e igualmente dispomVeis a linguagem.

Mais do que sujeito de preferencias, o poeta e, entao, o que recebe, e nao o qtie incorpora, de forma qtiase indiscriminada. Recebe-se portanto tambem o que nao se pediu, aqtiilo em que nao se ere e considera-se interrogativamente a possibilidade de serem conjugados os elementos de uma realidade tao disseminada e pulverizada pela linguagem. Abrindo com uma epfgrafe de Wittgenstein nas Investigagoes Filosdficas, paragrafo 38, em qtie se associa o acto de nomear ao do baptismo de um objecto. De facto, reconhecendo-se como um recipience informe e universal de coisas imprevisiVeis, como armazem nao mensLiravel, elide-se a possibilidade de reunir um con junto identificavel de interesses que confira uma forma defimVel a voz de Os Objectos Principals no entanto, acumula referencias, metom'micas ou nao, a fantasmas, a memoria, a um passado e a outras vozes.

E o que parece acontecer no poema que passo a citar e onde metaforicamente julgo poder ler-se aquilo que Harold Bloom designou por anxiety of influence. Ibdas as frases vinham do passado, o sujo biiraco da inemoria. E ja por prova sc Hxe no papel a garatuja. A Parte III deste livro e composta por vinte e sete poemas que supostamente evocam uma viagem ao Brasil.

Qiier dizer, o texto constitui-se como lugar em qtie visitar e ver se desencontram. Se nenhuma memoria nos basta. Se estamos chamando, clamando, E em nossas maos te levamos; tu nos levas. Nao e tambem facil determinar, no contexto deste poema, a quern se pede e a quern se promete, tal como nao e transparence quer o conteudo do pedido quer a materia da promessa, dada a extensao hiperbolica do pedido e da promessa.

E como se o que fosse realmente importance fosse abstractamente pedir e prometer que, no entanto e deste ponto de vista, parecem ser actos falsos e infelizes de pedir e prometer e transformam o texto num exerdcio ilimitado de retorica. Consideremos o acto de pedir, os seus eventuais destinatarios e o que possivelmente se pede. Em primeiro lugar, em Oasis, ha essencialmente dois tipos de pedido: o de se ser recebido e o de que ao eu seja dada qualquer coisa. Interessantemente, em Oasis, a alternancia entre pedidos e promessas de natureza tao abstracta, antitetica e paradoxal e quebrada por versos que SLigerem um emitico percurso por Lisboa, sem qualquer sentido ou conexao logica.

Em certos momentos, referem-se tambem outros lugares, percorridos heroicamente por Whitman nas folhas de Leaves Of Grass — Arizona, California, Mississippi, Louisiana — e a propensao e interpreta-los como destinos alternativos de uma existencia poetica. Mas que viagem e realmente esta e que mundo e este? Ja percebemos que o mundo e, num certo sentido, o mundo da poesia, o mundo enquanto poesia e a poesia enquanto mundo.

Se assim for, entao o percurso, que em Oasis se sugere, e um percurso por imagens poeticas dispomVeis, existentes, num certo sentido, fora do sujeito e as quais o mesmo pretende aceder. E um percurso por folhas. Quer dizer. Quern pode ser este sata que visita o en de Oasis, que o trata por igual e partilha o seu destino? Em Oasis, Franco Ale- xandre parece, ecoando Cesario, lamentar o destino de pedestal, de petrificada mudez e sustentagao dos outros, do sata, que o visita e tern pelo menos dois nomes, Camoes e Cesario Verde, e dele proprio, enquanto entidade poetica que ja pode ser tratada como igual.

Percebe-se entao que esta viagem caotica e alucinada, realizada em Oasis, e talvez uma viagem epica de confronto e identifica ;ao com dois poetas maiores da literatura portuguesa. LAMA is one of those bands that are in the immediate vicinity of the intersection between accessible and experimental jazz. It is played with a fresh, adventurous spirit and scope for personal freedom, yet the atmosphere is often dreamy, cinematic and charming, without the use of cheap effects, cheesy themes or other pre-fabricated ideas.

Here you have three strong musical personalities who protect the purity and alertness, and it is especially as a collective that the three show the best of themselves. That LAMA is a band with a very consistent story was indeed very clear. Although it is played with dynamism and a pendulum movement between more introverted and more powerful pieces, regularly identity remains recognizable.

Great style differences were however not to be picked up. The most striking feature, the use of electronics loops, cracking sounds, echoes, etc , was also used most tastefully and in the service of the whole. Drummer Smith opened with an electronically processed drum run, but it was not a lesson in over-doing, because it is especially the compact interplay of the trio that stood out.

There was plenty of room for repetition and subtle exotic influences, with a vague dreamy atmosphere that encourages Almeida and Santos Silva for easy ideas and solos that were not to showy, virtuosic, or technical , but very effective ideas. Thus the rhythms were moulded like clay, they went through minor surgery accelerating and decelerating, and you got regular patches from the worlds of brooding pop music to hear. While Almeida regularly showed off a conjuring ostinato , Smith showed that he is above all a melodic drummer, sometimes even following a trail that ran parallel to that of Santos Silva.

As curious passers-by on the dike stared inside, the trumpet that was heard showed that you only need a few notes to achieve maximum effect. The first concern which we afterwards thought of was that this is the kind of band that you get far too little to see on our big jazz festivals. Without doing flat concessions or a rehearsed show to increase favor with the public especially Santos Silva stood with remarkable timidity they got it done and had the audience eating out of their hand and perhaps afterwards even purchased one of their great albums.

And who knows where the journey is going, though we do not even claim that LAMA as an intermediate station to another and better place. No, this is modern jazz that confirms that we do not have to worry about the future of the genre. The VrijStaat O. LAMA was founded in at the Conservatory of Rotterdam , where the musicians involved at that time while doing their musical training. Lisbon, the hometown of Clean Feed , and a lot of other Portuguese acts linked to the label.

Just like the port in the past was a gateway for novelties from distant corners of the world, is also LAMA now receptive to influences that can enrich their music. For the American , this is familiar territory he explored further extended to ten years ago with the inactive standing quartet Pachora. He dances on clarinet therefore willingly in the round when the light turns to him after a long introduction to green. Through electronics and loops puts the group a lot of accents. However, the sequel is a pack interesting with elegant bass work of Almeida in again Asian-inspired theme.

It is long been clear that the aesthetic LAMA paramount performs and then a full and crisp production however a live recording movement from the Portalegre Jazz Fest as handy here.

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Rhythms are stacked together and the pace is through subtle interventions almost imperceptibly doubled and delayed again. Lisbon that stirs in contemporary jazz and improvisation done was already known. With LAMA has the Portuguese capital on a colorful representative for the melodic side of the avant — garde , which undoubtedly can also discuss at international level. With American reed player Chris Speed on board, they broaden their reach without enforcing radical changes. What does that have anything to do with each other? The world where Lama a llama or mud finds itself doing surreal.

The bass creaks, the horn beep and drummer Greg Smith plays hushed accents. A little later Lama arrives in swamp. The music starts to live and is halfway between the power of the bass and free improvisations by saxophonist Chris Speed and trumpeter Susana Santos Silva. They give each other space and play well to each other.

Exactly at the moment when it starts to get boring interplay is the rhythm section, push the number back to the beginning and end suddenly. They have a big swipe through when working and when the fog. The atmosphere is accessible but not too easy. A very pleasant CD to repeatedly get lost. The music here is almost always lyrical, though moods and textures will change, with the band unusually comfortable at slow tempos that support their sonic emphasis. A highly enjoyable listen. But what is revolutionary today? These hackneyed forms have been used for ages. Forms that are tangled breaths here trumpet and clarinet.

Shapes reminiscent of a certain harmolodious Ornette C Pair of Dice. Forms that play with ghosts and electronics Overture for a Wandering Fish, Manta. Forms of yesterday and whose tomorrows are not partitioned yet. Here Lama does not throw the basics out the window, but on the contrary, the substance travels the length of the recording while still maintaining a jubilant enthusiasm. There is freshness in our Lusitanian friends, a desire to explore more than to be convincing. Beginning with the writing that broadens their links, creates spaces, blurs the outlines and feeds a kind of climax chamber near certain works of Claudia Quintet, in which formation plays, not surprisingly, Chris Speed.

The song form, albeit unconventional, from the previous album gives way to a research that goes in the direction of bold combinations of timbre of a sound organization built on fleeting signs of a performance-toned abstract, sometimes dreamlike. June Tom Hull. Speed, who should need no intro, plays tenor sax and clarinet.

A little slow on the start, but when the horns get working they bounce off one another splendidly. June Europe Jazz Media Chart. Lama consists of three remarkable young musicians who in their own special way radiate a strong group identity. In a sovereign manner they handle a wide range of techniques and approaches well absorbed from the jazz tradition, albeit completely in the service of their own imagination and create — just like on their first album Oneiros — a fascinating sound.

The collaboration with Chris Speed is the obvious extension thereof. The sea as environment plays a prominent role in all the parts and the spirit of Ornette blows through all the pieces. Her interplay with Chris Speed is rich, sophisticated and full of productive tension. Notably the passages in which a solo instrument takes over which either deepens the piece or guides it to another terrain.

Therefore unlike classic jazz solos. Santos Silva plays everything that is made for trumpet, Almeida has a cool vibrating bass and expands his sound in a special way with subtle electronics. Smith, steady and firm, flexible and quick to react, does everything at the right time effortlessly. The playing of these four musicians remains amazingly grounded while simultaneously opening up new perspectives. The fascination of listening remains. Apparently they succeed what many others only try: creating fantasy worlds that appeal to people, fantasy worlds that capture our imagination and our salvation in the sea of reality.

The beautiful album cover — for myself the best that I have encountered so far this year — perfectly depicts the music. And then to realise that this all comes from mud. You need some guts and self-awareness necessary to take that as a starting point for a group name! Sea, tides, swell, sludge, creation …. Santos Silva, Alameida and Smith have moulded something into a fascinating and provocative shape! Gravado ao vivo na May Jazzenzzo.

Trios consisting of trumpet, bass and drums are fairly scarce. Because of the nature of the trumpet, it is virtually impossible to play continually. The resulting space is amazing filled in by the trio. By not doing too much, by leaving room and by emphasising the penetrating vastness. Lama shows us how you can flow without losing control.

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Adventurous in this way, the obvious parallels are immediately rejected out of hand. The group sounds especially unique. Occasionally Ralph Alessi comes to mind as a comparison. This is also a good indication of Lamas music: intelligent and complex, but also dry and cerebral. The effect equipment is generally used carefully and tastefully. It could even be less present. This is Oneiros. April Jazz. Um excelente concerto de um projeto que se consolida como muito interessante. The title track is a delicate ballad which glides elegantly as bass and trumpet state the melody in unisono, along spare, steady toms drumming.

While the melodies are sharp and the playing gives them enough bite, the distortion, fx effects, echoes blurr it somehow on the edge, resulting in a more misty tones. The albums is cohesive, the strong tunes share the decisive grooves, catchy tunes as well as immaginative arrangaments. The three instruments always fall into precise spot, where they shoud be, might it be a single touch of the drum.

Each piece is like a precious music box, carefully crafted. All three players deserves a lot of credit for the entire album but the lyrical bass solo in this piece feels really heartwarming. As the tension breaks suddenly the cartonish theme returns. The compositions are tunefull, rich, filled with surprising melodic twists and turns, witty and insightfull. Os restantes elementos repartem um tema cada. That it is supposedly a modern, expanded jazz with electronics, it was said somewhere, it was re-ignite hope in laptop or even synthesizer operator, which will be a decent standard tools of pariral.

Unfortunately — but not too much — not so. Following a looseness reverbiranega dreamy flow through tipping perspective on a series of songs suddenly conceived again and percolation passages, the sound board extends and hovers Mon withdrawn, difficult to be captured space, where over three-quarters of an hour short duration of more than an epic tale draws luxurious and contractions fragments of dreams. Songs are inspired through, a cautious improvisation more or less stick swirling around basic phrases, which dead ends at the atmospheric layer that rarely get the basic song motifs.

The panel also caution prevails and restlessness, this gentle, which is often released in the spill melodic softness or gentle repetition bass. In short, a very suggestive thing. At times it may be more than comfortable and dreamy little loose and the plate is hesitant Oneiros yet outlined a clear piece of music, very mature for a debut, especially a great traveler expectations by the following panel as well as the performance, which will be presented at the upcoming occupation of Ljubljana Jazz Festival.

Their music reflected different approaches to the creation and on the border between conventional and unconventional. The tracks which blend into each other, it is not clearly defined when one ends and when it begins the next. Pretty much the role of the drums, but otherwise all three all the time literally play with different shades of sound, to create a dialogue. Special attention is also paid to kontrabasistu time preserving the role of the classical and melodious accompaniment, but it is enriched with vibrato and glissandom, making the song got a slight touch of blues. Despite the fact that the central instrument trumpet festival, would be to point out the all great bassist!

Sound Lama despite the use of sound effects such as. Raucous sound of old, worn, boards , remains cleaned of redundant elements, so it was also with communication. A few words about the songs and thank the Slovenian were just enough. Lama played its very own form of dream-like music, effectively using various means—technically and stylistically—and demonstrated a strong command of varying dynamics. Almeida infused loops and soundscape-like electronics but also fell into a classic walking bass lines and simple, beautiful ostinatos.

Smith started with a heavy bass drum beat, while switching to hand drumming at the right moments. July Wartajazz by Thomas Y. LAMA Trio is fairly unique not only for their uncommon formation trumpet, contrabass, drums but also for the claim of a full musical adventure. Concoction of various acoustic and electronic sounds in real time improvisation, cyclic composition is the main dish of this group.

Thomas Y. Based in Rotterdam, Lama is an unusual mix of sensibilities, a trio of Portuguese and Canadian musicians that work at the intersections of film noir cool jazz, electronica and free improvisation. The music is continually engaging, mining the familiar in oddly surprising ways and maintaining the dream theme of the title track throughout, even in the way it frames aggressive polyrhythmic interplay among the three musicians on The Chimpanzee Who Told Man How to Cry.

Smith continuously brings flexibility and an explosive immediacy to a music that is at once liberating and nostalgic, something like the film music of Nino Rota. Stuart Broomer. Finding ground in the cross-section of re-invented traditional jazz idioms and innovation intrinsic to jazz since the s, the Portuguese-Canadian trio Lama performed soon after the concert by Kaja Draksler. Galeotta fu Rotterdam. O meglio il dipartimento di jazz del locale Conservatorio. Goncalo Almeida, contrabbassista, e Susana Santos Silva, trombettista, entrambi portoghesi, incontrano il batterista canadese Greg Smith e gettano le basi di quello che sarebbe poi diventato il trio denominato Lama.

Un incontro fortuito per dar vita ad un trio speciale. Talmente speciale da apparire come una delle stelle luminose di questa prima parte di duemiladodici. Ci sono melodie e brandelli di melodie — memorabile quella vagamente felliniana della title- track. The spark was Rotterdam. Or rather the jazz department of the local conservatory.

A chance encounter to create a special trio. So special as to appear as one of the bright stars of this first part of Certainly it will not be the palpable affinity of Santos with Bill Dixon or the clear aesthetic similarity with some groups of Rob Mazurek and Cuong Vu, that will obscure the brightness of the trio. It shines its own light, has a strongly defined personality, produces a music that leaves you breathless, in which all the possible references disintegrate to recompose again into an extraordinary dusty sound.

The double bass expands its tentacles thanks to the use of pedals and loops, the trumpet receives digital processing in real time, but they are just technical details because the instruments vibrate in a natural way as the voice of the soul and mind. Although composed of eight tracks, each with a strong connotation and the faceted structure, Oneiros can be enjoyed as a unique, amazing dream, populated by diverse characters, more or less real — Dr. No, chimpanzees, penguins, Tarantino — and a magic sound worthy of the most inspired storyteller.

There is a pulsation elastic, dark, deeply acoustic even when contaminated by electronics — impossible not to think back to the memory version of Charlie Haden Liberation Music Orchestra. Ognuno di essi contribuisce nella stessa misura al risultato complessivo. Gli inserimenti elettronici sono amministrati con accortezza ed efficacia da Silva e Almeida. Emblematic of the Portuguese label line is the music of the young trio Lama. First of all, stands out the composition aspect six of the eight songs are written by Almeida , which articulates the gait structures in the lively and ever-changing, never dull, and well-defined spaces by assigning roles to members of the trio.

Everyone of them contributes in the same measure to the outcome comprehensive income. The austere and weighted drive of the bass player gives security to the progress, while the percussion of Smith provide a measured background, unless characterized in terms of dynamic and timbre in solo sorties. From the seeds of invention planted at a conservatory in Rotterdam in , through experimentation and fruitful hard work, the Portuguese-based trio LAMA delivers a wild ride with Oneiros , their debut album and one of the best releases in In the end, it all comes down to musicians with complete facility on their instruments creating art through inventiveness, where compositions emerge and reshape at the drop of a dime with changes in tempo, heated exchanges, robust solos, and plenty of room for experimentation.

Two of the more memorable pieces make bold statements. While there are shades of influences from the past and present, the trio successfully pulls off the hat trick by sounding totally unique while demanding respect with superlative musicianship. Oneiros is brilliant and distinguishable. For the most part, the instruments are used fairly conventionally, though the musicans are not prone to hold back from extended technique when the moment calls, or use electronic processing and real-time loops to create new possibilities.

Trumpeter and group leader Susana Santos Silva plays mostly with a clean and dynamic tone. Silva delivers, over the elastic time, some possibly Ayler-inspired martial themes but goes far beyond them into a spirited improvisation. A playful juxtaposition of light and dark rhythms help conjure a delightful tension, and as the tune unfolds, it takes on an almost rock-ish dimension.

The electronics are used here for texture and fill, like cross hatching in a sketch. The brittle fizzle and digital spittle adds depth to the acoustic lines. Quieter moments, like in the title track, display a sensitive and melodic fragility that exudes a certain melancholy. It defies the conventional but is also quite accessible. Highly enjoyable and grows better and better with each listen. Lama is a trio of Susana Santos Silva on trumpet, flugel and electronics; Goncalo Almeida on contrabass plus effects and loops; and Greg Smith on drums.

Their album Oneiros Clean Feed gives us a good hearing of what they are about with eight pieces, six by Almeida and one apiece by Silva and Smith. First off, a quibble. Sometimes the electronics on the pieces sound extraneous and unnecessary, little sounds akin to surface noise or digital distortion. I found it most times a distraction to what was going on elsewise.

Once I recognized what it was I was hearing not my stereo blowing up I managed to partially tune it out and concentrate on the other musical voices. Other times the electronics seem more integral to the proceedings. There are only a few sections that have this sort of electronic undercurrent, so it is a minor concern. Much of the music works around motives that repeat and transform, solos following in part the impetus and implications of the motif.

Goncalo has a more long-phrased approach and does some quite interesting work within the collective format. Greg Smith plays nicely free or swinging drums depending on the context and is a good addition. All-in-all this is a quite interesting set. It is so as much or more so compositionally-conceptually as it is improvisationally in any long-lined linear sense. But that in part is what makes the music different.

This trio has seemingly conjured up one of the most superb debuts, Oneiros, in the last few months. Silva shows really diversity during this session which is more experimental and ethereal in parts. The piece then settles gently with crackles, pops and jagged notes into its conclusion. All this while each musician demonstrates a rich and highly versatile sense of improvisation.

Almeida delivers a lovely solo shortly before the end that is soft yet penetrating. The piece builds quickly and then plummets into a kind of joyous romp that allows Greg Smith to have a great solo opportunity flying the group outward. Filled with electronics and muted effects its a great display of the diversity of this trio. More seated in the drone sounds of indie rock than experimental jazz but highly effective indeed.

Both dense, diverse and exploring the unexpected. Oneiros is filled with ideas that will want you having Lama record together again and again on a regular basis. I plead them. Highly Recommended! Here, the Portuguese artist works within the trio format.

  1. Oh no, there's been an error.
  2. Bear (Animal).
  3. Como Hacer feliz al Esposo (Spanish Edition).

Moreover, the band injects some Spanish bravura into the mix, contrasting loose movements, yearning lines and efficient use of space. With free-form burnouts, eerie interludes and pensive soloing spots, the band executes a topsy-turvy sequence of events and presents a rather malleable outlook. The electronics are primarily used as additives or treatments atop accenting choruses and meticulously crafted solos. And they branch out into an ascending impetus amid the numerous ebbs, flows, spikes, and a bridge section that spawns a sense of loneliness.

Therefore, Lama is a band that imparts a signature voice due to an abundance of persuasive concepts and alternating frameworks.