By K. David Jackson
Poet, short-story author, feverish inventor--Fernando Pessoa was once the most cutting edge figures shaping eu modernism. recognized for a repertoire of works penned by way of a number of invented authors--which he termed heteronyms--the Portuguese author gleefully subverted the concept of what it potential to be an writer. adversarial Genres in Fernando Pessoa deals an creation to the fiction and the "profusion of selves" that populates the enigmatic author's uniquely imagined oeuvre.
To advisor readers in the course of the eclectic paintings shaped via Pessoa's heteronyms, ok. David Jackson advances the belief of "adverse genres" revealing style clashes to be primary to the author's paradoxical and contradictory corpus. in the course of the invented "coterie of authors," Pessoa inverted the standard relationships among shape and content material, authorship and textual content. In an encouraged, paradoxical, and every now and then absurd blending of cultural referents, Pessoa chosen genres from the ecu culture (Ricardo Reis's Horatian odes, Álvaro de Campos's worship of Walt Whitman, Alberto Caeiro's pastoral and metaphysical verse, and Bernardo Soares's philosophical diary), into which he inserted incongruent modern principles. by means of developing a number of layers of authorial anomaly Pessoa breathes the power of modernism into conventional historic genres, extending their expressive range.
Through examinations of "A Very unique Dinner," the "Cancioneiro," love letters to Ophelia Queirós, "The event of the Anarchist Banker," Pessoa's selection of quatrains derived from Portuguese renowned verse, the booklet of Disquietude, and the most important poetic heteronyms, Jackson enters the orbit of the artist who exchanged a regular existence for a global of the mind's eye.
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Additional resources for Adverse Genres in Fernando Pessoa
Canto o presente, e também passado e o futuro, Porque o presente é todo o passado e todo o futuro. Common to all of the major heteronyms is a nascent Portuguese neopaganism that would recuperate the classical worldview. Neopaganism provided Pessoa with a second blueprint for his adverse technique. In multiple essays on paganism, most dating from 1917, Pessoa makes blistering, devastating, and unrelenting attacks on Christianity and its distortion of the classical tradition. 81 Pessoa slyly excuses himself from the heretical poems in Keeper of Sheep through fragmentation of authorship: I wrote the eighth poem of Keeper of Sheep with astonishment and repugnance, with its infantile blasphemy and its complete antispiritualism.
Adverse genres in Pessoa form part of his literary game of deception and sleight of hand. Teresa Rita Lopes suggests ways that adverse genres came into being in Pessoa through the creation of personae with literary styles different from his own. 94 If the goal of Aristotelian art is beauty and all that is required to produce it, the end of non-Aristotelian art is based on the idea of force, interpreted as vital energy, perhaps inﬂuenced by Henri Bergson’s (1859–1941) “élan vital” and a contribution to futurist esthetics in the wake of Marinetti’s futurist manifesto launched in Paris in February, 1909.
99 He cites Don Quijote as the ﬁrst modern hybrid narrative structure, a tradition leading to Giambattista Vico (1668–1744) and examples of Menippean satire found from François Rabelais (1494–1553) and Lawrence Sterne (1712–1768), to the contemporaries Louis-Ferdinand Céline (1894– 1961), João Guimarães Rosa (1908–1967), and Alejo Carpentier (1904–1980). During Pessoa’s creative period, Lautréamont’s (1846–1870) Chants de Maldoror was making use of dreams and the grotesque to create incongruous juxtapositions within surrealist images, and in Joyce the practice of hybridity had reached an apex, with the inclusion of “all languages” (toutes les langues).
Adverse Genres in Fernando Pessoa by K. David Jackson