FORMA??O DA LITERATURA BRASILEIRA ANTONIO CANDIDO PDF

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Request PDF on ResearchGate | Antonio Candido lê Murilo Mendes | Antonio Candido was an exacting reader of Murilo's poetry and his efforts produced a deep understanding of many of Murilo's. Vozes críticas da literatura brasileira Rosa sempre busca estender as possibilidades da ficção de forma a enriquecer o. Antonio Candido, a central figure in post-Second World War Brazilian literary de cultura, desde o que chamamos folclore, lenda, chiste, até as formas .. 6 “A nossa literatura é galho secundário da portuguesa, por sua vez. Antonio Candido – Textos de intervenção. Baixar este arquivo PDF Direitos autorais Estudos de Literatura Brasileira Contemporânea . muscpertastsunear.tk_start AND ' ' format = 1 OR muscpertastsunear.tk


Forma??o Da Literatura Brasileira Antonio Candido Pdf

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Antonio Candido – Textos de intervenção. PDF · Bookmark and Share. Direitos autorais Estudos de Literatura Brasileira Contemporânea . 1 AND ((st. non_expiring = 1) OR (muscpertastsunear.tk_expiring = 0 AND (' ' >= s. date_start AND ' ' format = 1 OR st. format. Candido Antonio Formacao da Literatura Brasileira Vol 1 e 2 Download as PDF or read online from Scribd .. COSSON RILDO Letramento Literario PDF I - A narrativa e suas formas. Cargado por. Marcelino Júnior Marcelino. BERND. aplicación de formas de periodización, ya sea de concepciones de época o de com/Ideas_Autores/benjaminw/esc_frank_benjampdf, traducción de Bolí- “Modernidad y tradición popular”, Revista brasileira de literatura comparada Vol: 1 . De acuerdo con Antonio Candido, el sistema literario se compone de: “[ ].

This very brief discussion of the panorama of cultural life during the dictatorship attempts to mark crucial points that even now may affect literary production. I agree with authors as Zuenir Ventura, Renato Ortiz, and Tania Pellegrini, that I introduce here, when it comes to understanding the impact of the regime beyond censorship, procedures of repression and the Institutional Act n.

In view of this insertion of art into a new broader commercial context, and as parallel to institutional repression, self-censorship began to develop a major role. In literature, the relationship between authors, editors and the market, guided by market forces, is still a controversial point when it comes to discussing the literary arena from the point of view of quality from a critical perspective: what is considered good literature.

Silviano Santiago points out that, for example, the submission of Brazilian literature production today operates within the parameters of commercialization.

Writers must follow the laws of the market to feel they are participating in the literary scenario — which means having a literary agent, being published by big publishing houses, publishing in the right magazines, participating in big literary fairs.

The contemporary writer needs to have first an image, before a literary voice itself. The main reason for this is not only related to prices or accessibility, but to lack of interest. If an overview of literature — in any nation — is considered within a context of books, readers and writers, the absence of one element can be harmful to the entire chain, when it comes to attributing literary values. Nevertheless, Tania Pellegrini , p. And both of these authors are associated with the political resistance during the military regime.

The disruption in literary composition is marked by literary techniques that insert references from the writing of everyday life, such as newspaper articles, texts from diaries, screenplays, and narratives marked by the suspension of linearity or logical sequences.

And the subjects of urban violence and loneliness show the lost human being — almost an anonymous individual, which is clear in the figure of the most recent narrators — suffering not only physical violence, but also the rush of the big cities, the fight for money, time and the confused crowd, guided by mass media. Resende adds an interesting perspective, going beyond the immediate evidence of violence, and points out that the inner side of violence presented in novels is based on the concepts of presentification excessive preoccupation with the present, an urgency for the present, in a general definition and the tragic.

She suggests a return of the tragic in the post- globalized world. The urban violence in novels, therefore, could be the locus for a juncture of these aspects.

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We may interpret that urban violence is a modern form of tragedy. In my point of view this aspect adds one more new perspective about the development of Brazilian contemporary narrative, an unfolding feature linked to its reflection of Brazilian political and historical process, including the legacies of dictatorship.

Another interesting effect felt over the literary construction could be found in this argument presented by Flora Sussekind Indeed, this representational imposition would not merely arise from the documentary intention of contemporary narratives — something that has always occurred in Brazilian literature. Such an unstable zone of subjectivity also gains representation in poetry. Sussekind observes that many recent textual constructions of poetry are marked by defiguration and deterritorialization, as ways to express critically the urban experience.

In fact, hybridism in novelistic narrative has its origins in the early twentieth-century. Sited within the perspective of intimate or experimental narrative3, it has always existed, although it has not been properly investigated within Brazilian literature yet. If lyrical prose is considered to be a rich resource of expression, capable of taking an active part in historical processes4, it seems valuable to propose a rediscovery and a reinterpretation of texts that may have passed unnoticed and underappreciated in studies of the military regime and its consequences for the cultural sphere in Brazil.

This tendency, initiated as a common project of Romanticism, later characterized a large body of works, more intensely from the s to the s, and continued from the beginning of the period of military government, between the s and 80s — throughout dictatorship.

On the other hand, one of the most acclaimed books launched within the same period, Lavoura arcaica, by Raduan Nassar, in 3 Accordingly to its theory, formulated by Ralph Freedman, in The poetic appropriation of literary construction was almost never considered in Brazilian literary historiography; there is not much evidence of studies about lyricism in national novels.

According to Alfredo Bosi, the local contours of Brazilian prose-poetry and lyrical novels are not clearly delimited, due to the prevailing vision and strength of the intimist novel, especially after the s.

Anyway, if the period is analyzed as a whole, not only lyricism but many other ways of deconstructing traditional narratives were already there, in an intense work of the writers over the realistic way of composing their accounts. Within this panorama, reflecting on the social and economic shifts that the country undergoes, contemporary Brazilian prose has been analyzed more for its multiplicity — although the term begins to be questioned by its broad and repeated application.

The only certainty is the placement of Brazil in global urbanization, in addition to a narrative that now has the liberty to localize itself better than in times of repression. And, besides the new or not so new styles and literary constructions that now flourish in contemporary Brazilian literature, the idea of de-repression can perhaps bring even more new paths to explore in literature, including the Brazilian literary voices until now neglected in history, the misplaced ones.

Fifty years later, the responses to dictatorship have not ceased to unfold. As a historical trauma, its striking consequences suggest there is still much more to be discovered and analyzed within the literary field.

Palavras-chave: Legado ditatorial. Rio de Janeiro, Ouro sobre Azul, A literatura brasileira — Origens e unidade — Volume I. Enquete Interview. Delbeke -The Baroque is important tome in so faras I am a historian of Latin American colonial art and the "Baroque" has been a centrally-definingconcept in thisfield see answer to 3. That said, Imyself do not use this termoften, either in class or inmy scholarlywork. On the other hand, in lightof this project, I do believe that itwould be important to reassess how this termhas been used in thefield of Latin American art.

My impression is that ithas been overused; itsmeaning has been generalized to thepoint that, in some areas, it becomes meaningless. Ifwe want to continue to use itfor thisfield,we need to redefine itand establish the limitsof itsapplicability and viability.

In this respect, I have a feeling that thepace of thefield of Latin American colonial art does not run on a par with thatof European art,at least not in termsof this issue and theway you present it inyour email. You speak of a re-discovery and re-definitionof Baroque I am assuming thatyou are addressingmostly European art , but the same isnot yet happening, or at leastnot to the same extent for the rather,smallerfield of Latin American colonial art.

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On the - themore traditional contrary, I thinkwe need to step away from theBaroque use of Baroque which European arthistory already detracted from fora while - beforewe can stepback into it.

It is for the sake of brevity,since it isgenerally accepted that it refersto specificart forms and architecture, literature,and music produced within varying chronological brackets during the 17thand the 18thcenturies. It is thereforeuseful for titlesof books, lectures,university courses. It isnot because it is just too difficultto definewith precision and I simplyprefer to speak about pieces done in such or such a date.

De Moura Sobral -The term "Baroque" isnot really important forme. I prefer the term "Early Modern," because "Baroque" sounds often a littleold-fashioned tome and I am afraid thatuniversity studentsmight understand it too exclusively as a termof style.

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Oy-Marra This content downloaded from Castro - Itbothers every time I hear or see itused, because italways leavesme with the question of what itmight mean in thatparticular context. Bargellini - For my scholarlywork, no. In class, it is fundamental to define it. Berbara -Yes.

Coli -Like other terms in art history I am attracted to undervalorized origins and the latentpermanence of jocoseness. Conduru - Yes, because it is one of these rare words with universal meaning Portuguese imperfectpearl,figura of savage syllogism. It alsomatters as a concept that belongs to the realm of thepsychology of form,at least in the sense given to it byW?

It is at the center of my research as a historiographical problem. Levy - Yes, it is important. The term can be seen under a "Baroque" historiographical and a theoreticalor conceptual perspective. This leads also to thequestion that thereare differentcultural defined "Baroques" and different- or up to - conflictingor even contradictory inscriptions in local discourses. This includes a distinctmeaning of the term itselfand itsculturalmeanings and categories.

Baumgarten Literature -Yes. I take it to referto certain disturbances in the structuresof representation that come about in the late sixteenthand early seventeenth centuries inEurope and Latin America. Hampton - Yes.

My current research the geopolitical reasons underneath the explores general acceptance of the term "Enlightenment"while the term "Baroque" is stillcontroversial. My focus is then to understand why thehegemonic history of mentalities rejected "Baroque" and accepted without questioning the term "Enlightenment.

De Alba-Koch - Yes, insofaras the labelmarks itsuse in an 18th-century idealisthistoriography. And no - it isuseless - because the category is only deductive and ignores institutionalconditions and systemsof representation that classifyand unify like rhetoricand theology-politics. I am interestedneither indenying the existence of theBaroque nor inproposing to not use the term.

Deleuze said that itwould be as strange to deny the existence of theBaroque as itwould be to deny unicorns and pink elephants. I remember that, in the case of unicorns or pink elephants, the concept of thesenon-beings is already given.

But not in the case of theBaroque. It would be more useful toknow whether it ispossible to inventa concept that is able to conferwithin ithistorical existence in the 16thand 17thcenturies.

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To demonstrate that it isnot possible, it is sufficientto propose the concept that This content downloaded from Iwould say Baroque isW? German idealism,Neo-Kantianism, positivism. The uses of the term "Baroque" generalize transhistoricalfythe a priori nature ofW? In Brazil, in thewritten literatureand arthistorieswith theirpresupposed teleology that aesthetic changes lineup like a cumulative or dialectical overcoming that expresses and anticipates thenational, "Baroque" isused to classifyone stage.

This Baroque with itsevolutionary continuation of literature and arts,unified like epoch stylessucceed each other - theyare organized by the "walking Spirit" or Zeitgeist that returns to the transcendentalKantian subject or to the absolute Hegelian spirit.

I believe with Foucault that the only deductive use of the term thatpresupposes the objectification of itselflike an anterior scheme applied to the objects, does not hold any interestfora historical analysis. I also believe thatno historical analysis ispossible without a progressive, simultaneous systematization of documentary informationabout artistic practice.

This implies a critical thinkingwith a continuous auto- verification. Within thiswork the a priori or deductive notion of theBaroque can be dismissed, especially because many of itsuses are curiously folkloric likepink elephants. I would resist circumscribing theBaroque to a particular philosophical movement or ideology, although itcan be associated to somemore than others.

However, my research agenda does not depend on this concept. The more I have become involved in this [MCRl]project, themore important the termhas become.

Itnow identifies intellectual landscapes defined by thebold yetmelancholic appreciation of the moral and epistemological complexity of life. The Baroque iswhere scholastic and humanist genres,methodologies and languages truly meet. Braun - es central S? Chinchilla Pawling - Yes, since as the "Renaissance" is of a rediscovery of just strongly suggestive antiquity in all itsalterityas well as of the centeringofman [sic] as the frequent object of singlepoint perspective as well as of philosophical rumination, so Baroque as a termpoints to theway inwhich thevarious arts combined to decenter theviewer and asmy wife, an amateur performerof earlymusic remindsme to strain at theboundaries thinkof theway composers likeLully and Bach make such fertileuse of dance forms in theirmusic , while in literatureone finds narrative isbeing subverted and pulled around inworks by Cervantes, Marino and others.

Ditchfield -The topic is importantbecause theBaroque is an element that integratesthe history of identityconstruction, settingoff from the artisticand plastic forms. When Iwas studyingarthistory in the s, theBaroque was already a big theme inBrazil. Also thehistory of patrimony inBrazil is characterized by the idea of a constant Baroque.

Knauss - Yes, it isvery important. I admit that the importance of the term "Baroque" does not result from its relation towhat could be understood as style,for use of example architectural. There isno cause and effectbetween styleand the theword.

In Brazil and Latin America , theuse of theword "Baroque" has acquired an affective,a subjective dimension, that incorporates itselfin the was perception of theLatin Americans about themselves. The word anthropophagically swallowed and regurgitatedas it while maintaining, with its assimilated return,the authorization to be used outside of theMediterranean world: It ispossible to denote somethingwith theword "Baroque," supposing that itsuse is the resultof differentperceptions: When theword isused to referto style itallows a dialogue with theEuropean community.

When it isused like a perception that conjugates disparate elements, an congregated in themiddle of a constant process of change, itpermits identificationwith a determinate subject accustomed to specific traditions natural law. When theword is excluded, itpermits a critique of themodel through a search fora peculiar characterization of each individual case. Theodoro - Yes I don't know whether it is "important" but Meneguello 2.

Art History and Architecture rococo. DaCosta Kaufmann , including - C. Beldon Scott - C. The Baroque does not end with the death of Bernini. Delbeke - For European art, the 17thcentury,but again, for Latin American art,much of the 18thcenturycan be considered Baroque as well. De Moura Sobral This content downloaded from Oy-Marra th century and the firsthalf of the 18thcentury the classical definition.

I would like to think of the Baroque in more general terms, perhaps as Alejo Carpentier or Lezama Lima define it. Castro - 17thcentury. Bargellini - in some areas and sometimes 17th century; geographical Berbara - 17thcentury,with prolongations and metamorphosis into the 18thcentury. Coli - I don't know, I don't want, I don't have to I prefer your gastronomic allegorical definition! Conduru - If you want to carryme to this infamous land of art historical periodization, I'd rather stay with the radical conservatives Briganti, etc.

Marques - finalmeeting of the Council of Trent suppression of the Society of Jesus. I could substitute the French Revolution for the latterdate but both work hand inhand to bring about the change inmentality thatmarks the end of theBaroque. Levy - Because of the different discourses of the "Baroque" there is no one chronological definition, but several, which have to be seen in their relative contexts.

Baumgarten Literature - Vaguely, This is conditioned by the fact that Iwork a bitmore on France than on other national traditions and France undergoes the imposition of classicismewhich tends to stiflethe energies of theBaroque. De Alba-Koch - In histories of art and literature Baroque is a styleof an epoch, corresponding to a historic period, and equivalent to the 17thcentury.

Classified in thismanner, the Baroque is post-classical, post-mannerist and pre-neo-classical. Sometimes it is confusedwithMannerism, as inCurtius, but in general itcomes a littlelater thanMannerism and Classicism and ends a littleearlier thanNeo-Classicism, I don't know the exact day and hour.

In general it is costumary to say that it is This content downloaded from It is transhistoricallikean essence and all formsof Platonism.

I understand that itcan also be applied to theAustrian Habsburg empire, and in a limited sense also to some artistic forms elsewhere in late seventeenth- and Europe.

Braun -Dado que identificoel Barroco con la? Sin embargo, considero que de ah? Chinchilla Pawling - - s to s Barocci to Bach. Ditchfield - Traditionally theBaroque inBrazil ismarked by colonization and the evolution of theMannerist architectonical formsof thefirstcenturyof colonization.

The problem has been to define theboundaries of Baroque, Rococo and Neo-Baroque, because there is such strongcontinuity that it is almost impossible to say that there is one without the other. There are churches such as inRio whose architecture isBaroque, but which have a Rococo interior,and also some Neo-Baroque parts.

This would extend the chronology from the 17thcentury to the 19thcentury. Many classifythe curved plans principally inMinas G? Knauss -The chronological marks, in consonance with presuppositions of the above proposal vary depending on thepresupposition. In thefirstcase itcorresponds to a dating of style. Or thedates correspond to theperiod of confirmationof the ideas of thenational state.

Or it is contemporary. But the roots,where these national ideas are anchored, are substantial to be able to comprehend the three presuppositions. The firstpresupposition refersto our "identity,"our territorial and cultural continuitywith Europe.

Finallywe are overseas colonies. The second presupposition follows thatwe are also the resultof an Iberian tradition anchored indiscussions of natural law. The reading of theworld, itsperception, which the religious and how the conquistadors constructed and diffused in America, the tribute of an idea of "law," hence of a conception of state and of society,where the rule ismalleable adopting itselfto the circumstances.

This perception of things that always change place, are found in theword "Baroque," a fertilefield for a construction of identities relations. Theodoro -The 17thand 18thcentury,but irresistiblyassociated with Illuminism as a philosophical movement.

Meneguello This content downloaded from Art History and Architecture - Yes, as a chronological term. Note theYork conference inwhich all thiswas supposedly being revised, and the one in S? DaCosta Kaufmann -To the extent the term stillhas currency.

Beldon Scott - Yes, it is fundamental even if,obviously, ambiguous. Montanari -1 think so, because it is a useful tool to tryand define formaldevelopments in architecture see also next questions , and because, as indicated under i, italso signals a very intimatebut difficultrelation between the arts and different institutionalagendas.

Delbeke -Latin American colonial Art is unthinkable, even today,without theBaroque. The historiography has traditionallyconsidered thatmost of colonial artwas "Baroque" and that this iswhat best characterizes it. This appreciation has mostly stemmed from thehistory of colonial architecturewhich indeed dominated thefield until recently.

In itsprofuse use of decoration, Latin American architecturemanaged to parallel ifnot excel over European monuments in the theatricsof the "Baroque. For instance, it has sometimes overshadowed certain artisticmanifestations because theydid not fit into thisnarrative forboth chronological and stylisticreasons. I should clarify,however, that I am not anymore prone to use "Baroque" than any other European stylisticlabel to describe colonial art.

The earliesthistoriography of - - colonial art focused, as was then, exclusively on formalist matters typical imported these categories from thehistory of European artwholesale and, in the end, theyhave proven to be more problematic thanhelpful in explaining this art.

Lastly, I should clarifythat "Baroque" has not always been used exclusively as a categorization of style inLatin American colonial arthistory. In the s, in some circles, colonial Baroque artbegins to be synonymouswith Counter-Reformation Art and an art of And in some areas of Latin persuasion.

America, it can even sense of "national Alcal? De Moura Sobral -1 think that in theGerman history of art the termBaroque isup to present understood likea termof styleor a period of a unity of style,an assumption that we can no take to be true.

One can observe a interest in the art longer growing of the seventeenth century in thediscipline. At themoment [17th-century] studies are perhaps more original than on theRenaissance period. Oy-Marra - Yes, it is. Castro - Ithas certainlybeen important,and all the signs are that it isnot going away.

Bargellini -Not anymore in scholarlyproduction, aside from discussion of historiographical sources. Berbara This content downloaded from Coli -Like a confection to be swallowed, and which I am thinkingabout. Conduru - It ismore important and healthy formy indiscipline.

Marques -No I don't. But because scholars of European art both use and disavow the it term, points to some anxiety around both the compelling and for some the embarrassinglyongoing role of style in arthistory.

Levy - Yes, it isvery important,because, inmy opinion, the termBaroque isone of the founding termsof arthistory as a discipline. The styleparadigm and its importancewithin the establishment of arthistory as a "science" Wissenschaft play a crucial role,as well as the continuing debate about the termand the differentdiscourses.

Baumgarten Literature - No. Hampton - In history of literature it is important,although itcannot be considered a central one except to referto specificgenres, such as poetry G?

In Spanish literature"Golden Age" is the prevalent term to talkabout the 16thand 17thcenturies. When "Renaissance literature" is used, literature" as the for the 17th "Baroque emerges counterpart century. It helps to deal with a complex cultural formation thatwe cannot understand otherwise. De Alba-Koch -The termhas some importance for the literatureand arthistory discussions. Itneeds to be circumscribed to be effective. In so doing, theywill embark on a journey that, I suspect,will lead them to very differentnotions about the gestation of "Modernity," and, perhaps,make them less inclined to fallprey to construct retrospect teleologies.

In otherwords, the term deserves more Braun "Baroque" respect. Chinchilla Pawling -Historians now - largelyignore it except for theCourt Studies people who in luxuriate it all that lace, the endless corridors,gorgeous fabricsand acres of tapestrynot tomention sugar sculpture and all thatpi?

My perception is thatwith thedeath of "absolutism" as ameaningful term ithas kind of gone out of fashion. Maybe, forus protestant north Europeans there's alsomore than a shadow of anti-catholic prejudice remaining. As a historian of This content downloaded from It also allows one to articulate the full,overwhelming glory ofReligious practice as a Gesamtkunstwerk.

Ditchfield -The concept of Baroque is fundamental in arthistory's theory sinceW? There isno way not to approach the concept. Knauss - because it allows us to maintain a reference to Very important, simultaneously a universally-diffusedcategory and to construct and guard what was and is livingasmaterialized experience of accommodation facing thenorm inLatin America. The word "Baroque" with its consonances and dissonances allows us to bring various experiences to thefield ofman's cognition.

In theLatin American case thisprocess of cognitionwas favoured, on account of the diffusion during a longperiod of our history of natural law, in themanner of the 14ththcenturies. This experiencewas not similar to thatof those countries that aremore conjoined with the readings of theorists related to empirical evidence of a norm. Theodoro - Yes, but not directly,only indirectly.

Meneguello 4. Art History and Architecture - Yes. DaCosta Kaufmann -The art of the seventeenth century. Beldon Scott - Yes, in termsof stylebut also from thehistorical-cultural point of view. If I had to give a single characteristic Iwould say that theprincipal aspect of the Baroque is the tension around the sensual and emotional engagement of the spectator. Montanari - Yes, with the clich? While making very clear that these are rough approximations already dismissed by historians.

Delbeke -1 teach both a surveyof Spanish Baroque art and a course on Latin American colonial art. In the former,I introduce the students to the idea of theBaroque to facilitatetheir sense of chronology and styledevelopment. However, once I see the concept inplace, I also call attention to theways inwhich it isproblematic; I always point out thatnot all artists labelled "Baroque" are stylisticallysimilar, and the classic comparison is,of course, Rubens and Vel?

For my Latin This content downloaded from Were I to teachEuropean art in amore comparative framework, it would certainlyseemmore appropriate. If I am asked, I teach itchronologically. DeMoura Sobral -Yes. I tryto avoid general characterizations because studentsoften already have some and one has to free theirminds tomake themperceive the art of the 17th anew.

I emphasize spatial and the construction of topographies, the sense of awe, and particularly the idea of the infiniteasmanifested in several of the arts. Castro -Yes. I do itwith a historiographie slant,however. That is, I talkabout formal traitsthatwere defined in certainways at certain times.

Bargellini - With the traditional term's clich? But always emphasizing that these are historically determined concepts. I avoid a stylisticcharacterization and define itvia a theatrical "episteme": I avoid the opposition between the Italian Baroque and French Classicism: Coli -1 never taught tomake this confection, just others, also gracious and delicious: Conduru -A long time ago I used to give courses on it.

At that time I tried to use the term in the sense that themost diverse historians have given to it from W?

We can do it,and even must do it. The important thinghere is todefine step by step our position in themap of Baroque historiography. Marques - terms include instrumentalization, self Absolutely. Key persuasion, consciousness, the latterfor theCatholic Baroque , art of describing following Alpers for theDutch 17th-century aswell as the formal characteristicswhich W?

As of yet there isno Baxandall-type expose for the Latin American Baroque. Levy -1 characterize the Baroque as a very term that seems to dazzling everybody agree upon spontaneously, but laterwhen asked to define, leads to very rich discussions and debates.

I also, with less circumspection, characterize the Baroque as themoment when an obsession with continuity and roots, induced by theReformation and the emergence of themodern state, ismatched with a very self-conscious preoccupation with formal innovation in the arts, as thebest This content downloaded from Baumgarten Literature -1 generally teach theBaroque inpassing, as part of either a discourse on "cultural lateness" or as part of a discussion of thepost-modernity of the early modern period.

Hampton - Mainly as a systemof culture detectable through specificformsof expressions, but emerging from interactions in thedomains of informationoverflows, cultural hybridization. This complexity is a distinctive signal that characterizes the cultural formation named Baroque. De Alba-Koch -1 do not teach theBaroque. In teaching I characterize theuses of the term "Baroque" to specifythe appropriations of literatureand art in thepolitical and aesthetic programs of the romantic-nationalist historiography thatwas constituted in the 19thcenturyand continues to be taught in secondary schools and universities.

Iwould normallymention it inpassing, not as a central concept. My answers are testament to the fact that I do need to do much more thinking. Braun - S?. Justamenteen los t? Ditchfield -1 don't teach Baroque. Knauss - It is necessary to distinguish the differentuses of theword by all of the authors inquestion.

Theodora - a salad with Maravall and Yes. Imake Summerson architecture , i8th-century Argan. Sometimes, in other situations, I speak about Baroque writings starting This content downloaded from But, I am always anxious to arrive in the 19thcenturyonce and forall.

Meneguello 5. Art History and Architecture - No. DaCosta Kaufmann -1 tryto avoid using the term inmy writing, but, sometimes it'sa useful shorthand forart of the seventeenth century. Beldon Scott -Yes. Obviously not in a didactic and definingway but certainlyas amental category that is active inmy studies. Montanari -Not the clich? Delbeke -Yes. DeMoura Sobral -1 am always looking to teach things that Iwould also repeat inmy scholarly work, and I am glad thatwe can do so.

Oy-Marra - Yes, Iwould.Berbara - 17thcentury,with prolongations and metamorphosis into the 18thcentury. Tempo Social, revista de sociologia da USP, v. II da Eneida tambem apresenta um catalogo de varoes no contexto da narrativa da chegada ao Lacio.

3533_literatura_brasileira_poesia_unica_frances_ingles.pdf...

This specific influence brought consequences for Brazilian culture as a whole, and has been studied by several scholars, with some excellent conclusions that need to be shared — even if briefly — along with some of its consequences over the literary construction. He questioned West European culture as the dominant and unchallenged center of the world. Et al.