FERNANDO PESSOA CARTEA NELINISTIRII PDF

Revista surgida em abril de , entre Orpheu () e Portugal Futurista ( ), fundada por Augusto Santa-Rita, Pedro Meneses (pseudónimo de Alfredo . Acest pin a fost descoperit de Sweet Escape Blog. Descoperă (și salvează!) Pinuri pe Pinterest!. Edição Crítica da obra completa de Fernando Pessoa. §2. . Preface by Fernando Pessoa, A factless Autobiography and A disquiet An- Cartea Nelinistirii.

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This evaluation of the first fair copy as nothing but a stage in textual development corresponds to recent French theory in 59 genetic criticism. I quote all texts in the original language and give in the gernando a translation in English.

challenging modernism fernando pessoa and the book of disquiet

Quoted in Van Hulle, 8. Jahrbuch der deutschen Schillergesellschaft Who is this I?

Where modern genetic criticism focuses explicitly on manuscripts, drafts, pencils, i. Editorial Estampa, Lisboa, and: Anyone around the globe with a feeling for the hand-written, the manu scriptum, who could recognise the work-in-progress as enhancing our collective understanding of neliniztirii work, would be able to look at these materials.

Cartea Nelinistirii Quotes (1 quote)

Both texts were typically Soares: The crisis of the book Chapter 2: Most of the titles that appear on the lists were, however, found in a fragmentary state, on which he confessed already in to Cortes-Rodrigues: Rich in scope, The Double Flame examines everything from taboo to repression, Carnival to Lent, Sade to Freud, original sin to artificial intelligence.

The canon, now consisting of all marked fragments, can be added by texts with titles that appeared on lists and schemes that outlined Disquiet. Gabler left the mainstream anglo-saxon tradition of copytext by replacing it by a hybrid form of textual criticism that combines the Anglo-Saxon aim of establishing a copytext as well as the continental aim of showing the genetic development of the text.

Take it in your hands, take a close look at it from all sides and you will agree that this is indeed, unmistakably, a book.

All quotes from the criticism-article come from the last mentioned publication. This will avoid the editorial doubt whether or not exemplary texts were actually meant for the book. Paes preferred an edition that offers a large scope, as large as possible, of fragments that belong or could belong to Disquiet, which Cunha has done.

In the UK and USA the practice of genetic research, methodologically based upon theories of new bibliographers most of all dealing with 16th and 17th century textswas mainly focused on the establishment of a text that the author would have desired. Aceasta carte aproape mitica, probabil opera cea mai seducatoare pesaoa lui Fernando Pessoa, e un monolog interior de o tristete indicibila, care surprinde cu o minutie halucinanta interiorul cu mii de fatete al uneia dintre numeroasele sale heteronime, Bernardo Soares.

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Cartea nelinistirii – Fernando Pessoa | Quotes | Pinterest | Quotes

The Portuguese National Library has begun to publish Pessoa-documents from the carttea online in digital scans, but only a small amount of the in total more than The twelve published texts: Dates Only four fragments written in the first period of the writing process have dates, while fragments of the second phase have dates.

The task of pedsoa editor of the fermando archive would be to register all various renderings of the documents. The Lost Origins of the Essay takes the reader from ancient Mesopotamia to classical Greece and Rome, from fifth-century Japan to nineteenth-century France, to modern Brazil, Germany, Barbados, and beyond. They took all kinds of texts that fitted the idea of intimate writing, compiled them in a book and came up with this title for it.

The scandal is enormous. The same can be said of the fragment. We cannot, however, disregard the fact that Pessoa wrote and published his texts in the context of a certain literary era, characterized by the af3 A term that Pessoa himself used when referring to his heteronym project.

Note concerning the actual editions and which can be used in the preface Collect later on, in a separate book, the various poems I had mistakenly thought to include in the Book of Disquiet; this book of efrnando should nwlinistirii a title indicating that it contains something like refuse or marginalia — something suggestive of detachment. I thank him for giving me the opportunity first to write a doctoral thesis and later a PhD on Pessoa, his critical and stimulating intellectual guidance and for being so patient and tolerant towards my many other activities cernando continuously delayed the pessao of this PhD.

Most of all I am grateful to Gina, who has taken the entire journey with me and has always been both a passionate source of and a comforting beacon in disquietude.

Cartea Nelinistirii Quotes

Opera sa a fost tradusa in mai multe limbi: The inclusive apparatus gives the reader a full view of the texts and the authorial adaptations. I would like to thank the directors dr. CunhaTransl.: In practice, genetic criticism passes through a parcours of 1 constituting the whole dossier, 2 organizing the documents, 3 specifying and classifying, 4 deciphering and fernajdo, 5 establishing and publishing an avanttexte.

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This tentatio tristitiae tempted the modern artist 23 Cf. Besides this, some poems Transl.: Petrus 94 possam ser Livro do Desassossego. Existing inter national publishing projects had to be cancelled and existing editions were peseoa allowed to be reprinted. This makes a definitive chronological sequence of the fragments almost impossible. Richard Zenith, an American scholar and translator of Portuguese and Brazilian literature living in Lisbon, edited Disquiet.

Zenith corrected or altered many of the transcriptions and introduced six new fragments, withdrawing pfssoa Prolegomena carteaa einer historisch-kritischen Ausgabe der Werke Heinrich von Kleists.

Various essays and studies on genetic principals and methods became influential and drew followers, but none of them reached paradigmatic validity. On the basis of stylistic differences one can more or less make a distinction between texts from the first and the second phase. Fernando Cabral Martins, Richard Zenith. With these movements paulismo, sensacionismo, atlantismo and interseccionismo, Pessoa tried to catch up with what we now call the historic avant-garde.

Based on a story by Nobel Prize laureate Octavio Paz, this delightful tale of a boy and his pet wave is charmingly retold with beautiful new illustrations. Pexsoa vast majority of the Pessoa achives had not been published at all, which therefore demanded different criteria. In that way, expensive costs of publishing and distributing facsimiles can peseoa avoided and transcriptions and new insights can be added fairly easily.

Some govern the world, others are fernand world. Galhoz declared that these first five envelopes nowadays hold the contents of the original one. It is remarkable that the Equipa, despite their strong conviction to choose the final authorial intention, has published all kinds of critical editions over the years, except for an edition of crtea only volume of poetry published and revised by Pessoa himself during his life.

The differences of transcriptions between the two editions indicate the importance of the availability of facsimiles of the manuscripts, because many of these readings cannot be judged objectively.