DOCSLIB.ORG

The Carnivalesque and the Grotesque in Elizabeth Bishop's Poetry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Carnivalesque and the Grotesque in Elizabeth Bishop's Poetry University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses 5-20-2011 The Carnivalesque and the Grotesque in Elizabeth Bishop's Poetry Renee Dombrowski University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/td Recommended Citation Dombrowski, Renee, "The Carnivalesque and the Grotesque in Elizabeth Bishop's Poetry" (2011). University of New Orleans Theses and Dissertations. 1304. https://scholarworks.uno.edu/td/1304 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. The Carnivalesque and the Grotesque in Elizabeth Bishop’s Poetry A Thesis Master of Arts in English by Renee Dombrowski University of New Orleans May, 2011 Table of Contents Abstract.............................................................................................................................. iii Introduction..........................................................................................................................1 Chapter 1..............................................................................................................................3 Chapter 2............................................................................................................................12 Chapter 3............................................................................................................................20 Conclusion .........................................................................................................................39 Works Cited .......................................................................................................................41 Appendix............................................................................................................................43 Vita.....................................................................................................................................48 ii Abstract Elizabeth Bishop (1911-1979) was a Pulitzer-prize winning American poet who did not produce much published work in her career. This was partly due to her low confidence, depression, alcoholism, and difficult personal life, but it was also due to her meticulousness as a poet. Colleagues and critics praised her strong description and mastery of technique, but criticized her early work as lacking depth. While appearing simple, her early works present complex themes of dualism and isolation. Using characteristics of the carnivalesque and the grotesque, her poetry explores these concepts and the need to cover them. This study’s close analysis of four works (“From the Country to the City,” “Cirque d’Hiver,” “Pink Dog,” and “The Man-Moth”) reveals characteristics of the carnivalesque and the grotesque, adding a previously unnoticed depth to her early work. Elizabeth Bishop, Grotesque, Carnivalesque, Poetry Analysis, American Poetry iii INTRODUCTION While their roots originate in ancient tradition, the carnivalesque and the grotesque are relatively recent terms to the literary lexicon. Although nuances exist in the terms’ respective meanings, in general, the carnivalesque presents the jovial, fantastical images associated with carnival. It celebrates indulgence and pleasure, and it momentarily suspends social rules. While the carnivalesque subverts the negative, the grotesque highlights it and combines comedy with tragedy, with emphasis on tragedy. It exaggerates the inappropriate, degrades objects and the body, and focuses on characters oftentimes “physically or spiritually deformed” (Harmon and Holman 257). While these genres are considered distinct, many of their characteristics overlap: exaggeration, images of the abnormal, emphasis on the body, degradation, and the merging of reality and fantasy. Elizabeth Bishop (1911-1979) was a deeply conflicted poet whose life and works were shaped by her childhood experiences and relationships. She was a poet plagued by loss, low-self esteem, alcoholism, sickness, and depression. The carnivalesque and the grotesque permitted Bishop to explore the emotional ambiguity of these afflictions, including the reality and unreality of death and other personal tragedies. Some of her poems (notably “From the Country to the City,” “Cirque d’Hiver,” “Pink Dog,” and “The Man-Moth) reflect several characteristics of these genres. They serve as appropriate vehicles for Bishop’s themes, particularly the theme of the isolated and costumed self. Many studies of Bishop have explored her notion of the isolated self, but none has explored this theme as it relates to the carnivalesque and the grotesque. Bishop has been labeled a poet of great observation, but some critics believe her powers of observation to be her only strength as a writer, and criticize her work for lacking complexity and emotion. Several of her poems describe an object without directly offering an explanation of 1 its significance or implications; however, when read closely, these poems contain layers of meaning. For example, one of her most anthologized poems, “The Fish,” describes the colors and other features of a newly caught fish. Critics understand that the poem is not merely about the fish, but about the speaker’s change in her understanding of the creature. While “The Fish” is highly celebrated, many of Bishop’s early poems are not. Most critics praise her selection of unique subjects, but believe Bishop insufficiently develops themes or emotions. However, Bishop’s work does not lack emotion or complexity; the fact is that these attributes are generally sublimated within the density of her poetry. Bishop is not direct, but she is a master of subtlety. She allows the image of her observation to speak for itself. Although the language is simple and direct, her poems demonstrate considerable depth. Similarly, the images and characteristics of the carnivalesque and the grotesque are subtle, but revealing. The genres allow for ambiguity and multiple interpretations. Thus, analyzing Bishop’s work through the lens of these genres reveals a previously unnoticed depth to her early work. 2 CHAPTER 1: DEFINING THE CARNIVALESQUE AND THE GROTESQUE The terms “carnival” and “carnivalesque” are distinct but interrelated. Carnival originated in ancient times, but what began as a ritual evolved into a complex system of images and emotions known as “carnivalesque.” Any explanation of the term must begin with an explanation of carnival. While its precise origins may never be known, Mikhail Bakhtin traces its origin in the western world to ancient Greek, Roman, and medieval societies. Perhaps the earliest and most important carnival was the Roman festival of Saturnalia. During one week in December, Roman citizens rested from everyday life and indulged in eating, drinking, partying, and gift- giving. This celebration honored Saturn, the god of the harvest. In addition to a festival-like atmosphere, the social hierarchy was inverted during Saturnalia. Slaves enjoyed feasts hosted by their masters, while masters served their slaves. Work became secondary as pleasure took priority. These joyous celebrations of reversal could not exist without an opposite, “official” counterpart. Many religious festivals, political rites, and farming rituals were marked by a solemn, exclusive tradition. During these sacred festivals, certain citizens had the right to participate while others did not; therefore, there were participants and there were observers. Strict rules of conduct and procedure marked the celebration. From these official festivals emerged celebrations of a different, secular nature. A carnival-like atmosphere of laughter, games, and play in which everyone participated distinguished these ceremonies from their more reserved counterparts. In this way, these rituals “built a second world and a second life outside officialdom” (Bakhtin Rabelais 5-6). Carnival eventually developed into an anti-culture, one of inclusion rather than exclusion. David Danow explains that “in its most general sense, carnival celebrates…the unofficial, 3 uncanonized relations among human beings that nonetheless exist…alongside the official, openly recognized forms of human intercourse” (3). In essence, carnival celebrates the unsanctioned and all its associations, but it is only made possible through the existence of its official counterpart. This was achieved through parodies and mockery of images from officialdom; bright costumes and masks mimicked the official attire, the clown acted as head of the event, and the atmosphere of spectacle facilitated the participation of various personalities (Danow 4). The carnivalesque refers to a work of literature permeated by this spirit of play and reversal. It “provides a mirror of carnival” (Danow 4) that includes images like the clown, the mask, and the spectacle, but the term also includes the emotions and implications of carnival— the fantasy, the inclusion, the fun,
Load more

Recommended publications
  • Elizabeth Bishop, Brazil, and the Question of Home
    Elizabeth Bishop, Brazil, and the Question of Home Yuko Matsukawa GLINDA. en close your eyes and tap your heels together three times. And think to yourself: “ere’s no place like home; there’s no place like home; there’s no place like home.” e Wizard of Oz (1939) e rst stanza of one of Elizabeth Bishop’s most anthologized poems, the villanelle entitled “One Art,” declares, “e art of losing isn’t hard to master;/ so many things seem lled with the intent/ to be lost that their loss is no disaster” (166)1. Bishop (1911-1979) was no stranger to loss: having lost her father when she was eight months old and then having had her mother institutionalized when she was ve, the most profound loss she experienced was that of a stable and loving home. A childhood of being shuttled back and forth between the homes of her maternal and her paternal grandparents as well as that of an aunt did not alleviate her sense of alienation, though boarding school and later Vassar College gave Bishop friends with whom she would stay and/or travel, abroad and within the United States. But it was not until she moved to Brazil in 1951 that she found a place she could call home for over a decade and a half. Her years abroad in Brazil suggest that she was an expatriate writer; yet within the context of American writers who lived abroad, she followed not her immediate ― 527 ― “Lost Generation” predecessors such as Ernest Hemingway and F. Scott Fitzgerald, whose sojourns in Europe were predicated on the assumption that there would always be a return home to the United States, but writers who preceded them and stayed in Europe for most of their lives̶Henry James and Gertrude Stein come to mind̶as well as her contemporaries whose ties to France ( James Baldwin) and Tangiers (Paul Bowles) also rewrote how we understand American writers abroad.
    [Show full text]
  • Elizabeth Bishop's New York Notebook, 1934-1937 Loretta Blasko
    What It Means To Be Modem: Elizabeth Bishop’s New York Notebook, 1934-1937 Loretta Blasko Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Masters of Liberal Studies in American Culture May 4, 2006 First Reader Second Reader, Blasko ii Acknowledgements A special thanks to: Sandra Barry of Halifax, Nova Scotia, for your knowledge in all things E.B. and your encouragement; Susan Fleming of Flint, Michigan, for your friendship and going the distance with me; Dr. J. Zeff and Dr. J. Furman, for your patience and guidance; Andrew Manser of Chicago, Kevin Blasko and Katherine Blasko of Holly, Michigan, my children, for pushing me forward; Alice Ann Sterling Manser, my mother, for your love and support. Blasko Contents Acknowledgements, ii Forward, vi Introduction, x Part I 1934 Chapter 1. The Water That Subdues, 1 Cuttyhunk Island. Chapter 2. It Came to Her Suddenly , 9 New York, Boris Goudinov , Faust , The House o f Greed. Chapter 3. Spring Lobsters, 20 The Aquarium, the gem room at the Museum of Natural Science, Hart Crane’s “Essay Modem Poetry,” Wilenski’s The Modern Movement in Art, John Dryden’s plays. Chapter 4. The Captive Bushmaster, 34 Marianne Moore’s “The Frigate Pelican,” Coleridge’s Biographia Literaria, and Loyola’s Spiritual Exercises . Chapter 5. That Face Needs a Penny Piece of Candy, 54 Henry James’s Wings o f the Dove, What Maisie Knew, and A Small Boy and Others, The U.S.A. School of Writing, Salvador Dali. Blasko Part II 1935 Chapter 6.
    [Show full text]
  • Elizabeth Bishop's Theater of the Inevitable
    Elizabeth Bishop’s Theater of the Inevitable Heather Treseler Worcester State University ELIZABETH BISHOP’S BRAZIL, by Bethany Hicok. Charlottesville: University of Virginia Press, 2016. 192 pp. $59.50 cloth; $24.50 paper; $24.50 ebook. ELIZABETH BISHOP’S PROSAIC, by Vidyan Ravinthiran. Lewisburg: Bucknell University Press, 2015. 250 pp. $80.00 cloth; $49.99 paper; $42.50 ebook. “Writing poetry is an unnatural act,” Elizabeth Bishop observed in a set of notes dating from the late 1950s or early 1960s, “it takes great skill to make it seem natural. Most of the poet’s energies are really directed towards this goal: to convince himself (perhaps, with luck, eventually some readers) that what he’s up to and what he’s saying is really an inevitable, only natural way of behaving under the circumstances.”1 That Bishop, by mid-career, aimed to make her poems seem “natural” and “inevitable” is not surprising to those familiar with her craft. But two recent books, Bethany Hicok’s Elizabeth Bishop’s Brazil and Vidyan Ravinthiran’s Elizabeth Bishop’s Prosaic, enhance our understanding of the cultural circumstances and technical theater behind Bishop’s air of inevitability—the uncanny sense, which Bishop readers often have, that her finished poem could not have been written any other way without diminishing its power. Hicok’s and Ravinthiran’s books offer new contexts for reckoning with Bishop’s enduring appeal. As Angus Cleghorn and Jonathan Ellis state in their introduction to The Cambridge Companion to Elizabeth Bishop (2014), “At the beginning of the twenty-first century, her poetry seems, if anything, even more contemporary than during her lifetime, a process facilitated .
    [Show full text]
  • Ampliação E Requalificação Da Vila Olímpica Da Maré
    ELAS EM VISTA UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL CURSO DE ESPECIALIZAÇÃO EM DESIGN GRÁFICO DEPARTAMENTO DE DESIGN E EXPRESSÃO GRÁFICA - DEG NATALIA BORBA DE CASTRO ELAS EM VISTA UMA EXPOSIÇÃO VIRTUAL SOBRE LUTA, MULHERES E ARQUITETURA. Porto Alegre 2020 3 ELAS EM VISTA NATALIA BORBA DE CASTRO ELAS EM VISTA UMA EXPOSIÇÃO VIRTUAL SOBRE LUTA, MULHERES E ARQUITETURA. Projeto apresentado ao curso de Especialização em Design Gráfico, da Universidade Federal do Rio Grande do Sul, como requisito parcial para conclusão da disciplina Trabalho Conclusão de Curso. Orientadora: Professora Dr. Maria do Carmo Curtis Porto Alegre 2020 4 ELAS EM VISTA O projeto ELAS EM VISTA: uma exposição virtual sobre luta, mulheres e arquitetura é dedicado a todas as mulheres cujo trabalho é invisibilizado pela sociedade. 5 ELAS EM VISTA Resumo Atualmente milhares de mulheres profissionais, em atividades, até então, executadas por homens, enfrentam uma batalha diária em busca do respeito e igualdade. Possuindo um direcionamento para a comunidade da arquitetura, esse trabalho trata de uma reflexão que reflete, a partir de exemplos específicos, as condições da mulher na arquitetura e em formações correlatas, frente às dificuldades produzidas pela herança de uma estrutura patriarcal e moralista manifestada nas hierarquias profissionais, cujos protagonistas são e sempre foram, historicamente, homens. Este projeto busca abrir um espaço de debate de gênero, racismo, feminismo e ativismo político na comunidade da arquitetura. A partir de uma extensa lista de profissionais pouco estudadas, e, portanto, pouco reconhecidas, foram selecionadas seis mulheres bem-sucedidas na prática projetual. Na intenção de contribuir ao reconhecimento de suas carreiras, ELAS EM VISTA é uma exposição virtual que aposta no caráter de “heroínas solitárias”, explorando a dimensão de gênero.
    [Show full text]
  • Elizabeth Bishop's Brazil
    Elizabeth Bishop’s Brazil: An Attraction in Difference TOM WINTERBOTTOM Stanford University Abstract: The correspondence of Elizabeth Bishop during her years in Brazil with fellow poet Robert Lowell shed light not only on her personal impressions and experience there but also on the broader atmosphere of Brazil in the 1950s and 60s. The abundant letters show an intimacy that Bishop was willing to explore in personal correspondence that was not readily forthcoming in her published poetry. The present essay analyzes that correspondence alongside the few poems Bishop wrote in or about Brazil to understand her pursuit of belonging and happiness that found an unlikely home—and a tragic end—in and around Rio de Janeiro for almost twenty years. Bishop’s trajectory from love to loss and happiness to tragedy intimately interacts, this essay argues, with changes in mid- century Brazil, from the national development pursued by Vargas and Kubitschek, including the building of Brasília, to the fallout from the 1964 military coup and beyond. Keywords: Poetry, travel, Rio de Janeiro, letters, belonging Elizabeth Bishop’s death in October 1979 marked the end of an itinerant adult life that struggled with belonging and meaning, punctuated by tragedy and depression. It was in an unexpected place, Brazil, that the poet found her home and finally, at least for a time, some degree of happiness. The difference of what she found there—an escape from the restrictions and expectations of the United States—seemed freeing, allowing her an unforeseen corporeal and creative liberation. Brazil, perhaps, is well known for this; Bishop, on the other hand, was not.
    [Show full text]
  • UNVEILING EKPHRASIS on the SCREEN Desvendando Écfrase Na
    UNVEILING EKPHRASIS ON THE SCREEN Desvendando écfrase na tela Dominika Bugno-Narecka1 Miriam de Paiva Vieira2 Abstract: Both adaptation and ekphrasis are considered as transmedial tools by proposed models (Rajewsky, 2005; Elleström, 2010, 2014, 2021) for the study of (inter)medial transformation. The two processes share some common aspects concerning the transfer of medial properties, putting emphasis on the respective audiences’ recognition. The aim of this paper is to understand how the process of media transformation from novel to film takes meaningful ekphrastic excerpts and turns them into something narratively and materially different. In order to investigate the issue, the authors of the paper will illustrate the transfer of ekphrastic excerpts from novel to film in the movie Doktor Judym directed by Polish Włodzimierz Haupe (1975) and the film Reaching for the Moon (2013) directed by Brazilian Bruno Barreto, using the notions of adaptation by Hutcheon (2006), and ekphrasis by Clüver (2019), Bugno-Narecka (2017, 2019) and Vieira (2017, 2020). Keywords: Literature. Film. Ekphrasis. Adaptation. Intermediality. Resumo: Adaptação e écfrase são consideradas ferramentas midiáticas por modelos propostos (RAJEWSKY, 2005; ELLESTRÖM, 2010, 2014, 2021) para o estudo de transformação entre diferentes mídias. Os dois processos compartilham aspectos relativos à transferência de propriedades de mídias no diz respeito ao reconhecimento do leitor/audiência. O objetivo deste artigo é compreender como o processo de transformação entre mídias, no caso de romance para filme, se apropria de trechos ecfrásticos significativos e os transforma em uma nova narrativa materialmente diferente. Para tal, a partir das noções de adaptação, Hutcheon (2006), e écfrase, de Clüver (2019), Bugno-Narecka (2017, 2019) e Vieira (2017, 2020), a transferência de trechos ecfráticos do romance para o cinema será ilustrada pelos filmes Doktor Judym, dirigido pelo polonês Włodzimierz Haupe (1975), e Flores raras (2013), dirigido pelo brasileiro Bruno Barreto.
    [Show full text]
  • The View from Key West: Toward a Global South Atlantic Lyric Marvin
    The View From Key West: Toward a Global South Atlantic Lyric Marvin Alfred Campbell Lemoyne, Pennsylvania B.A., English, Vassar College, 2006 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English Language and Literature University of Virginia July 2015 1 Acknowledgments I am immensely fortunate to have received endlessly generous training, support, and mentorship from a wonderful department with a vibrant intellectual community. The co- directors of my dissertation, Jahan Ramazani and Jennifer Wicke, have supported and believed in my work and me more than I can ever adequately thank them for, and it means the world to me. I am honored to have been their students at the University of Virginia, benefiting from their teaching, scholarship, critical acumen, and professional and personal support. Stephen Cushman has deeply influenced this project and my development as a scholar and teacher as well. Working with, and alongside, him has been a great and matchless gift—one of my most cherished memories was a course I took under his tutelage during my early years in the department and I continue to be inspired by his pedagogical example. Courses, conversation, and research collaboration with Michael Levenson throughout my years at UVa have been enormously beneficial as well, helping to inspire my enthusiasm for the profession. I am grateful to other faculty members—Elizabeth Fowler, Deborah McDowell, Anna Brickhouse, and Rita Felski—who have supported my work and with whom I have had fruitful conversations in its conception. The continued support and friendship of Don Foster—whose mentorship at Vassar College and beyond—has also meant a great deal to me, having far exceeded his obligations to me as my teacher.
    [Show full text]
  • EB News Letter Draft 3
    Vol 23 Summer 2017 THE ELIZABETH BISHOP SOCIETY OF NOVA SCOTIA NEWSLETTER Editorial For an organization, twenty-three years of continuous activity is an The EBSNS was formed in 1994 to accomplishment. The Elizabeth Bishop Society of Nova Scotia is now celebrate the life and work of the poet approaching a quarter century and it is still going strong. As heady as the Elizabeth Bishop. The society seeks Elizabeth Bishop Centenary (EB100) celebration was in 2011, and as proud through its various activities and as we are of the legacy projects completed in 2013, the EBSNS board has not projects, to promote the appreciation sat on its laurels. Almost immediately the board began to discuss what the and study of Elizabeth Bishop as a next project(s) would be. When the St. James Church Preservation Society offered the EBSNS space in the sanctuary for a permanent Elizabeth Bishop Nova Scotian writer. The EBSNS exhibit, the board readily accepted and work on an exhibit and small art publishes an annual newsletter and gallery commenced. We are excited to say that we will be unveiling the holds its AGM in Great Village in “Elizabeth Bishop’s Beginnings” exhibit and the “Echoes of Elizabeth June of each year. For more Bishop” gallery at our Annual General Meeting on 17 June 2017. You can information about EBSNS and about read more about this event in the pages of this newsletter and on the EBSNS membership, visit our website http:// blog: http://elizabethbishopcentenary.blogspot.ca/ and our Facebook page: https://www.facebook.com/EBSofNS. www.
    [Show full text]
  • Stefan Zweig and Elizabeth Bishop
    Vol. IX comparative cinema Fabio No. 16 2021 Camarneiro Tropical Purgatory: Brazil Through 75-92 the Lenses of Stefan Zweig and Elizabeth Bishop Writers Stefan Zweig and Elizabeth Bishop both lived in Brazil, although in very different circumstances. Their stories served as basis for two films: Maria Schrader’s Stefan Zweig: Farewell to Europe (Vor der Morgenröte, 2016), and Bruno Barreto’s Reaching for the Moon (Flores raras, 2013). This article aims to describe the differences between these two films, and how they can be connected to Brazilian authors such as Gilberto Freyre and Sérgio Buarque de Holanda, whose works attempt to understand Brazil’s social dynamics from the perspective of its violent colonial past. Furthermore, this article aims to question the connections between historical accuracy and political engagement, arguing that the general tone of a film narrative may sometimes be much more politically-oriented than the actual facts it portrays. Date submitted: 15/09/2020 Date accepted: 09/04/2021 Keywords FILM BIOPICS STEFAN ZWEIG ELIZABETH BISHOP GERMAN CINEMA MARIA SCHRADER BRAZILIAN CINEMA BRUNO BARRETO BRAZILIAN SOCIETY TERRESTRIAL PARADISE Fabio Camarneiro [email protected] orcid.org/0000-0002-1767-3610 Associate Professor at UFES (Federal University of Espírito Santo), Brazil. DOI: 10.31009/cc.2021.v9.i16.05 This article analyses two biopic Antoinette, 2006, for instance)” (Vidal films that portray writers: Stefan Zweig: 2013, 2−3). As discussed below, Farewell to Europe (Vor der Morgenröte, the myth of the “tropical paradise” 2016), by Maria Schrader, and Reaching reveals itself in both films, forcing the for the Moon (Flores raras, 2013), by characters to confront the distance Bruno Barreto.
    [Show full text]
  • Chapter 1: Introduction
    ABSTRACT Title of Document: TUNNEL VISION: URBAN RENEWAL IN RIO DE JANEIRO, 1960-1975 Mark Edward Kehren, Doctor of Philosophy, 2006 Directed By: Professor Barbara Weinstein Department of History University of Maryland Following the inauguration of the newly constructed capital of Brasília in April 1960, the former federal district and Brazilian capital of Rio de Janeiro was transformed into the city-state of Guanabara. Although Rio lost its status as the political capital of Brazil after nearly 200 years, extensive urban renewal campaigns to modernize the city were employed by numerous politicians, planners, architects, artists, and ordinary residents to help restore Rio’s position as Brazil’s “true” capital city. This dissertation examines these urban renewal efforts in Guanabara from 1960 to 1975 - a period when Rio de Janeiro experienced its largest period of population and spatial growth. Whereas many of the urban renewal campaigns and projects for development prior to 1945 were intended to beautify, embellish, and “civilize” the city, the projects of the 1960s and 1970s were highly technical and revolved around integrating the automobile into the urban landscape. The measures of investment and resources devoted to modernizing and reforming the city during the Guanabara period were unprecedented for Rio de Janeiro, consequently resulting in significant spatial, social, cultural, and economic reorganization of the city. “Tunnel Vision: Urban Renewal in Rio de Janeiro, 1960-1975” examines specific projects of urban renewal such as tunnels (Rebouças and Santa Bárbara), expressways, parks (Aterro do Flamengo), subways, overpasses, and beaches while also exploring the technocratic approach to urban planning which was demonstrated through attitudes and principles that often marginalized “non-expert” participation in reforming the city.
    [Show full text]
  • Elisabete Da Silva Barbosa a Poética Dos Espaços Na
    ELISABETE DA SILVA BARBOSA A POÉTICA DOS ESPAÇOS NA OBRA DE ELIZABETH BISHOP: UMA EDIÇÃO GENÉTICA DOS POEMAS THE ARMADILLO E NORTH HAVEN Tese apresentada ao Programa de Pós-Graduação em Literatura e Cultura do Instituto de Letras da Universidade Federal da Bahia – UFBA, como requisito parcial para obtenção do título de Doutor em Literatura e Cultura. Orientadora: Prof. Dra. Sílvia Maria Guerra Anastácio. Salvador – BA 2016 2 TERMO DE APROVAÇÃO ELISABETE DA SILVA BARBOSA A POÉTICA DOS ESPAÇOS NA OBRA DE ELIZABETH BISHOP: UMA EDIÇÃO GENÉTICA DOS POEMAS THE ARMADILLO E NORTH HAVEN Tese submetida ao Programa de Pós-Graduação em Literatura e Cultura da Universidade Federal da Bahia, como requisito parcial para obtenção do grau de Doutor em Literatura e Cultura. BANCA EXAMINADORA Profa. Dra. Sílvia Maria Guerra Anastácio Universidade Federal da Bahia – UFBA Orientadora Profa. Dra. Silvia La Regina Universidade Federal da Bahia – UFBA Profa. Dra. Rosa Borges dos Santos Universidade Federal da Bahia – UFBA Profa. Dra. Anne Greice Soares Ribeiro Macedo Universidade Federal do Sul da Bahia - UFSB Prof. Dr. Marcos Antonio de Moraes Universidade de São Paulo - USP 3 À memória de Elizabeth Bishop. 4 AGRADECIMENTOS Sou grata ao Programa de Pós-Graduação em Literatura e Cultura da UFBA, por ter possibilitado o desenvolvimento desta pesquisa. A minha orientadora, Profa. Dra. Sílvia Maria Guerra Anastácio, pela orientação, cuidado e confiança depositada em mim. Agradeço-lhe por participar de minha vida acadêmica desde a graduação, quando tive a oportunidade iniciar os meus estudos nos arquivos de Elizabeth Bishop como bolsista PIBIC. Ao Grupo de Pesquisa PRO.SOM, por ter disponibilizado as fontes de pesquisa provindas da Special Collections Library, de Vassar College.
    [Show full text]
  • Flores Raras (E Banalíssimas): Entre O Documental E O Ficcional
    Flores raras (e banalíssimas): entre o documental e o ficcional Reaching for the moon: between the documental and the fictional Bianca Deon Rossato1 Elaine Indrusiak2 Escreve-se para contar, não para provar. Tito Lívio, Flores Raras e Banalíssimas (1995) Abstract: This paper aims at analyzing the relationship between the book Rare and commomplace flowers (1995) by Carmem L. Oliveira and the feature film Reaching for the moom (2013), directed by Bruno Barreto. As Oliveira (re)tells the love story between Elizabeth Bishop and Lota de Macedo Soares during the 1950s and 1960s in Brazil, her text presents itself as both documental and fictional. The writer bases her production on personal archives and documents, historical sources, as well as in personal accounts by Lota’s and Bishop’s acquaintances. The film, on its turn, is based on Oliveira’s text. Considering that such works approach historical characters framed within a given time and space, both raise questions when it comes to conceptions such as historical past, relations between authors and characters, as well as those between reality and fiction, in addition to questions of appropriation and adaptation as they are understood by Adaptation Studies. In this sense, discussions on historiographic metafiction by Linda Hutcheon (1991), adaptation by Thomas Leitch (2007) and Hutcheon (2013), and biopics by George Custen (1992) contribute to the understaning of both works in their individuality, and the relationships that rise through the adaptation process. So far, the analysis reveals that although Oliveira bases her writing on document and approaches historical characters, her style and the use of literary techniques render the text a novel-like aspect.
    [Show full text]