DOCSLIB.ORG

The Portuguese Symphonic Poem (1884–1909)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Portuguese Symphonic Poem (1884–1909) The Portuguese Symphonic Poem (1884–1909) Rui Magno Pinto Universidade Nova de Lisboa 1 Introduction By the 1870’s, a considerable fraction of Lisbon’s audiences seemed to have be- come dissatisfied with the dominant trends in concert programming. In spite of a few prior attempts to introduce what was by then called “philosophical” or “classi- cal” music, the programming at the musical venues still tended to favor opera, virtu- osity—in works that consisted mainly on excerpts, variations, fantasias and potpour- ris for soloist, consort, orchestra and band, withdrawn from the established and new Italian and French operas or set on original themes—, solo character pieces and social dances—such as waltz suites, polkas, mazurkas, and other dances. This dis- contentment was part of an acute awareness of a certain decadence in Portuguese life in the closing decades of the nineteenth century. A range of agendas that aspired to develop the social, political, aesthetic and cultural institutions issued forth from an intelligentsia known as the Generation of 1870, led by the poet-philosopher Ante- ro de Quental, and constituted by Ramalho Ortigão, Guerra Junqueiro, Oliveira Martins, Téofilo Braga, Eça de Queirós, Jaime Batalha Reis and Guilherme de Azevedo, among others. With regard to music, the demand for a more elevated taste in musical listening and the favoring of the musical classics within concert pro- gramming (what William Weber has called “musical idealism”) found as its promot- ers a generation of amateurs and professional musicians that, due to their ontological and historical musical knowledge and to their wealth, were bestowed with the au- thority and means to establish and maintain specialized musical periodicals from 1873 onwards, an endeavor which had been attempted and failed ever since the 1850s. In the wake of the discourses that promoted “musical idealism”, professional and amateur musicians brought about the foundation of two important institutions— the Society of Classical Concerts in 1879 and the Royal Academy of Music Amateurs in 1884. In the years to come, with the aid of foreign conductors, they were to pro- mote the introduction of repertoires from among the German classics and contempo- rary French and Russian composers, leaving aside the long-dominant tradition of works related to operatic genres and salon music. In the first decades of the twenti- eth century, the invitation of well-known conductors and orchestras to Lisbon and Rui Magno Pinto the creation of professional orchestras contributed significantly to the gradual estab- lishment of “classical music” in Lisbon’s concert life. The establishment of “musical idealism”, the rise of a “symphonic culture” and the dynamic enterprise of Lisbon’s musicians, musical firms and musical institutions in the import of musical works by renowned foreign composers that led gradually to the transformation of concert programming seems also to have promoted a change in the favored genres for orchestra. Another contribution to this ulterior transformation was the gradual investment of composers in search of a better and more updated training, that lead several of them to proceed on their musical improvement in France and Germany. The course and characteristics of this alteration in the field of Portuguese musical composition was thus resumed by Ferreira de Castro (Nery & Castro, 1991, p. 157): Meanwhile, under the combined influence of French and German examples, the axis of the musical creation in Portugal moved slowly from the operatic field to that of symphony and chamber music (to the point that from the 1920’s the balance between the two components can be considered totally reversed). Concerning orchestral music, since the 1880’s the composition of overtures (fol- lowing the Italian model) declined (virtually to the point of disappearing), due to composers’ fostering of other genres, such as the symphonic poem, the paraphrase, the rhapsody, the symphony, the minuet, the character piece, among others. 2 The Portuguese “symphonic poem” This study focuses mainly on those Portuguese orchestral works in which a literary paratext is used as, and/or assigned a programmatic content. I have chosen to gather them together roughly as “symphonic poems”, since they are, following Hugh Mac- Donald’s definition (2001, p. 802), “orchestral forms in which a poem or program provides a narrative or illustrative basis”. Within the scope of the Portuguese musi- cal composition of the late nineteenth century and early twentieth century, the pro- duction of programmatic works for orchestra seems to have exclusively recurred, in the period between 1884 and 1909, to the use of the literary output of Portuguese writers as an inspirational source (table 1). This corpus of orchestral works compris- es the symphonic suite A Hunt at the Court (1884), by Alfredo Keil; the Ouverture D. Ignez de Castro (1886), by José Viana da Mota; the symphonic ode Sintra’s Mountain (circa 1893), by Carlos Adolfo Sauvinet; the “short symphonic poem” Inês (1907), by David de Sousa and Luís de Freitas Branco’s symphonic poems After a reading of Antero de Quental (1907–1908; revised in 1910), After a Reading of Júlio Dinis (1908–1909) (unfortunately lost) and After a Reading of Guerra Jun- queiro (1909, revised in circa 1916). Apart from Sintra’s Mountain by Sauvinet, the symphonic poems composed be- tween 1884 and 1909 share as common characteristic the exclusive use, as paratext, 2 The Portuguese Symphonic Poem (1884–1909) of Portuguese literary works, written by Luís Vaz de Camões (c. 1524–1580), Júlio Dinis (1839–1871), Antero de Quental (1842–1891), Casimiro Dantas (1850–1904), and Abílio Manuel Guerra Junqueiro (1850–1923). Aside from the most renown ancient Portuguese writer, Camões, author of the epic poem The Lusiads (1556; 1572) are some of the recognized writers of the second half of the nineteenth centu- ry: Dinis, Quental and Guerra Junqueiro; Dantas seems to have been a less known writer, but he must have had some local appreciation, since he was a prolific feuille- tonist in Lisbon’s specialized literary and artistic press in the last decades of the nineteenth century. Nonetheless, the contemporaneity of both writers and composers is elusive: only Dantas and Guerra Junqueiro were alive during the production and première of the musical works set to their literary output, although it is not certain that the latter was aware of the Fantasia by Freitas Branco or of the symphonic poem Babilónia, composed by Sousa in 1917. Notwithstanding, it is safe to argue that the program of Sintra’s Mountain was idealized by Sauvinet, since he must have been the author of the notes that were delivered at the première, which reads: “This descriptive composition reproduces the impressions of a tourist in a visit made to Sintra and to its enchanting mountain, and aims to clarify the listener to his impressions.” By the detailed description we became aware that the program is, in fact, idealized by the composer from reality, from Sintra’s landscape and monuments, from its historical events (occurred in the Composer Musical work Literary source Year Alfredo Keil Uma Caçada na Corte Casimiro Augusto Vanez 1884 (1850-1907) Dantas (1850-1904), Contos do Outono [excerpts] José Viana da Ouverture D. Ignez de Luís Vaz de Camões Berlin, Mota Castro (ca.1524-1580), 1886 (1868-1948) Os Lusíadas, Canto III, stanzas 118-130 Carlos Adolfo Ode Sinfónica A Serra [Carlos Adolfo Sauvinet (?)] c. 1893 Sauvinet de Cintra [Sintra] (1836-1905) David de Sousa Poemeto sinfónico Ignez, Luís Vaz de Camões, Leipzig, (1880-1918) op. 16 Os Lusíadas, C. III, st. 118- 1907 130 Luís de Freitas Depois de uma leitura de Antero de Quental (1842- 1907- Branco Antero de Quental 1891), 1908 (1890-1955) /Antero de Quental Sonetos (1861-1886) rev. 1910 Depois de uma leitura de Júlio Dinis (1839-1871), 1908- Júlio Dinis [Poesias (?) (1873)] 1909 Depois de uma leitura de Guerra Junqueiro (1850- 1909 Guerra Junqueiro 1923), rev. A Morte de D. João c.1916 Table 1 – Portuguese symphonic works with programmatic content (1884- 1909). 3 Rui Magno Pinto Royal Palace, in the Moorish Castle and in the Pena Castle and Palace) and other episodes of Portuguese history. Camões’s epic poem is used in several ways: the tragic episode regarding the death of Inês de Castro, referred in Canto III, stanzas 118 to 130 of The Lusiads serves as paratext to the Ouverture by Viana da Mota and to the “short symphonic poem” by David de Sousa, both of them composed in Germany during the compos- ers’ learning period abroad; excerpts of Cantos I, III and IX of The Lusiads are used in the printed edition of Sintra’s Mountain by Sauvinet as “poetic fragments quoted in relation to the themes addressed in this Ode”. The appropriation of Luís Vaz de Camões and The Lusiads as identifiable marks of the Portuguese Nation-State— especially after the celebrations of the three centuries of the death of the author in 1880—seems to have been understood by Portuguese composers as one of the pos- sible means apt for the upgrowth of Portuguese musical nationalism. Nonetheless, the use of the epic poem, and notably of the same episode, is made abroad, in Ger- many, what certifies the pretensions of Mota and Sousa of their identification as Portuguese composers or their knowledge of the nationalistic discussions in Portugal and their willingness to offer some contributions on that cultural movement. An important dichotomy emerges from this intermedial corpus: while the musi- cal use of The Lusiads remits to the construction of national identity based on the importance given to the collective memory of Portuguese history, namely of the Discoveries and of the ancient Portuguese empire, acquiring the form of eulogy, the shared musical appropriation of Guerra Junqueiro’s “The Death of Dom João” re- ports the coeval decadence of the Portuguese fin-de-siècle society, politics and cul- ture, perpetuating the same criticism that emerged around the decade of 1870.
Load more

Recommended publications
  • Antero De Quental in English
    Antero de Quental in English George Monteiro (Brown University, Providence, R.I., USA) y earlier piece (“Antero de Quental in English,” Portuguese Literary & Cultural Studies, 11 (Center for Portuguese Studies and Culture/University of Massachusetts Dartmouth, 2007, 441-64) presents a checklist of trans- lations of Antero’s poetry and prose, along with a selec- tionM of commentary on Antero and his writings. The list that follows is a supplement to that compilation: 1. “Bitter Against England,” New York Times (Feb. 8, 1890), 2: Oporto, Feb. 7 – The students in this city today made a demonstration in favor of the poet, Anthero Quental, President of the Northern Patriotic League. They became riotous and smashed the windows of the leading social club because it had not expelled Englishmen belonging to it and had admit- ted others. The Progressist and Republican papers in Portugal continue to attack England violently. (On this same day this item appeared as “Anti-English Riot in Oporto,” Philadelphia Inquirer, 1, “London Gossip,” Omaha Daily World-Herald, 1, “Portugal Riots Again,” [Georgia] Macon Telegraph, REAP / JAPS 27 1, “Portuguese Students Smash Windows,” [Baltimore] Sun, 1, and “Students Riotous,” Dallas Morning News, 6). 2. “The Portuguese Periodicals,” (London) Review of Reviews (Apr. 1890), 1: 328: Senhor Anthero de Quental continues his dissertation on the ‘General Tendencies of Philosophy, in the Latter Half of the Nineteenth Century,’ Hegelianism is the ultimate expression of dogmatism in modern philosophy. Senhor de Quental bids us look to other elements of the same philosophic spirit, at present, latent and developed, to vitalise contemporary thought (…).
    [Show full text]
  • Introduction: the Lusophone World at War, 1914-1918 and Beyond
    Introduction: The Lusophone World at War, 1914-1918 and Beyond Filipe Ribeiro de Meneses1 On March 9, 1916, Germany declared war in Portugal. In response, Lisbon sent a fighting force, the Corpo Expedicionário Português [CEP], to France, where it held a portion of the Western Front until April 9, 1918. In addition, a number of smaller expeditions were dispatched to secure Mozambique and, if possible, participate in the conquest of German East Africa. Both theatres of war were a source of frustration for the Portuguese, and participation in the conflict fell far short of the hopes deposited in it by its defenders. As interventionist politicians slowly lost control over the country’s destiny after the war’s end, the conflict faded from the public’s awareness, its memory kept alive essentially among those who had direct experience with combat. For decades, Portugal’s participation in World War I was generally ignored, or reduced to a historical cul-de-sac, a pointless, if expensive, military episode. However, our understanding of the conflict’s impact on Portugal and its importance in the subsequent course of the country’s history has increased immeasurably over the past twenty years. The centenary commemorations for both the Republic, in 2010, and the Great War itself, starting in 2014, have naturally contributed to this process. In March of 2016, on the hundredth anniversary of Portugal’s intervention in the conflict, a colloquium was held at Brown University as an attempt to insert Portugal’s war experience into a wider, but intimately related, context: that of the Lusophone world.
    [Show full text]
  • Discover Lisbon with Our Guide!
    The 7th Conference of European Survey Research Association welcomes you to the fashionable city of Lisbon! Lisbon, the most westerly capital in mainland Europe, is one of the few cities in the world to offer a unique natural landscape. It’s for sure one of the most impressively located, with a series of hills facing the Tejo estuary, one of the sunniest and probably one of the least expensive cities to discover. Being a city built on hills, from the various belvederes, installed in the highest points, can enjoy breathtaking views. We highlight the castle of S. Jorge, where we reach the cacilheiros in their crossing to the south bank, the 25th April bridge, Rossio, Carmo convent, Bairro Alto, Eduardo VII park, among other points of the city. Alongside the old city, with a very rich heritage, Lisbon is also a modern city that has been renewed in new cultural and leisure proposals. In this document you can find out more about the places you cannot miss in this city – excursions, restaurants and bars, among others. Index What to see & Where to walk............................................................................................... 4 Tram 28E route – the best way to know Lisbon ......................................................4 Prazeres cemetery ..........................................................................................................6 Santo Condestável Church ..............................................................................................6 Basílica da Estrela and garden .......................................................................................6
    [Show full text]
  • Antero De Quental in U.S. Newspapers
    ANTERO DE QUENTAL IN U. S. NEWSPAPERS: (1) THE (NEW BEDFORD) DIÁRIO DE NOTÍCIAS (1919-1973), AND (2) THE HISPANIC-AMERICAN PRESS (1890-1961) – CHECKLISTS OF REFERENCES AND REPRINTINGS GEORGE MONTEIRO Monteiro, G. (2013), Antero de Quental in U. S. newspapers: (1) The (New Bedford) Diario de Noticias (1919-1973), and (2) The Hispanic-American press (1890-1961) – Checklist of references and reprints. Boletim do Núcleo Cultural da Horta, 22: 189-224. Summary: This is an annotated bibliography of references to Antero de Quental and reprint- ings of his poems in twentieth-century U.S. newspapers. The first part lists 230 items from the New Bedford, Massachusetts Diario de Noticias (and its predecessor, the Alvorada Diária). The second part lists 20 items from the Hispanic press (including a review of Emilia Bernal’s book of translations of Antero’s poetry). Monteiro, G. (2013), Antero de Quental na imprensa americana: (1) O Diário de Notícias de New Bedford (1919-1973), e (2) A imprensa Latino-Americana (1890-1961) – Inventário de citações e reimpressões. Boletim do Núcleo Cultural da Horta, 22: 189-224. Sumário: Apresenta-se uma bibliografia anotada relativa a citações de Antero de Quental e reimpressões dos seus poemas em jornais americanos do século XX. Na primeira parte faz-se a lista de 230 casos do jornal Diario de Notícias de New Bedford, Massachussetts (e do título que o precedeu, a Alvorada Diária). Na segunda parte apresenta-se a lista de 20 exemplos da imprensa de língua espanhola (incluindo uma recensão das traduções da poesia de Antero por Emilia Bernal).
    [Show full text]
  • Carlos Manuel Martins Do Vale César President of the Regional
    Carlos Manuel Martins do Vale César President of the Regional Government of the Azores Born on: 30-10-1956 Carlos Manuel Martins do Vale César was born in Ponta Delgada, in the Azores on October 30, 1956. He went to primary and secondary school in his hometown. At a very early age, when he was studying at the Antero de Quental Secondary School, he was a member of the Cultural Cooperative “SEXTANTE,” located on the island of São Miguel, which was famous for its active civil opposition to the dictatorship of Salazar and Marcelo Caetano, who ordered the political police PIDE/DGS to close it. His inclination towards politics comes from a family tradition that led, among others, his great- uncle, Manuel Augusto César, to actively participate in the Socialist Party as well as in labour movements during the First Republic. The latter was also the director of newspapers such as “O Proletário,” the weekly paper of the Workers’ Federation, the “Protesto,” a body of the Antero de Quental Socialist Centre and the “Protesto do Povo,” the socialist fortnightly newspaper, all published in Ponta Delgada. In the years immediately preceding April 25, his civic formation was deeply influenced by his brother Horácio do Vale César, a journalist, and by other important figures in the school and opposition movements in Ponta Delgada during that period, such as Jaime Gama, Mário Mesquita and Medeiros Ferreira, all of whom studied at the Antero de Quental Secondary School. In 1973, at the age of 17, he integrated the Steering Commission of the C.D.E.
    [Show full text]
  • Arautos Da Modernidade: Cesário Verde, Antero De Quental, Eça De Queirós E a Crise Intelectual Finissecular Em Portugal
    145 N. 24 – 2012.2 – SILVIO CÉSAR DOS SANTOS ALVES Arautos da modernidade: Cesário Verde, Antero de Quental, Eça de Queirós e a crise intelectual finissecular em Portugal Silvio César dos Santos Alves 1 Resumo: Este trabalho tem como objetivo apresentar alguns aspectos da relação de Cesário Verde, Antero de Quental, Eça de Queirós e suas respectivas obras, relacionando-os à crise intelectual do fim do século XIX. Tentamos apontar em que medida esses autores foram ou não capazes de superar o fim das certezas que orientavam a cultura ocidental até meados desse século. Sobretudo, procuramos demonstrar, nesses autores, procedimentos estéticos que anunciam novos valores que mais tarde seriam identificados com a modernidade portuguesa. Palavras-chave : Literatura Portuguesa. Crise intelectual. Século XIX. Em uma comunicação intitulada Gênese e descendência da poesia de Cesário Verde , Joel Serrão cita várias referências de Fernando Pessoa e seus heterônimos sobre a influência recebida da precursora modernidade de Cesário Verde. Inversamente, Serrão também propõe uma série de autores – com a exceção de Baudelaire, todos contemporâneos do poeta oitocentista – que, provavelmente, teriam exercido alguma influência sobre a poesia de Cesário, especificamente em relação à forma como este percebia o real. Segundo esse autor, uma tal consonância estética [...] não acontece por acaso e por factos de natureza puramente idiossincrásica relativamente aos poetas, acontece num contexto cultural deste tempo que medeia entre aquilo que significou a geração de Coimbra e o que significa, pelos fins do século, a proclamação de Zaratustra: de que Deus morrera e que o Superhomem nascera. Ou seja, trata-se na verdade de uma crise fundamental na evolução da história ocidental e sobretudo da relação do homem com o sagrado.
    [Show full text]
  • Antero De Quental, Iberista: Iberianism As Organizing Principle and Evolving Intellectual Commitment
    Rev31-01 4/9/08 11:34 Página 45 Robert Patrick Newcomb* ➲ Antero de Quental, Iberista: Iberianism as Organizing Principle and Evolving Intellectual Commitment Abstract: In scholarship on Portugal’s Geração de 70, Antero de Quental (1842-1891) is commonly remembered as the group’s intellectual guide or as a poet, with his socio- political prose unfortunately receiving less attention. This paper will propose iberianism – an intellectual current that advocates closer ties between Portugal and Spain – as an organizing principle of Quental’s prose, with his iberianist commitment evolving from an early advocacy of an Iberian federation through an interest in a common “peninsular race” and a defense of the beleaguered First Spanish Republic (1873-1874), to more fatalistic reflections on prospects for Spanish-Portuguese union. I will present Quental’s position in relation to earlier iberianists (J. F. Henriques Nogueira) and federalists (P.-J. Proudhon), and will analyze Quental’s Causas da decadência dos povos peninsulares (1871) as a transitional text in the author’s evolving iberianism. Keywords: Antero de Quental; Geração de 70; Iberianism; Portugal; 19th Century. O iberismo é de ontem; mas invade tudo. (J. F. Henriques Nogueira: “O iberismo e seus adversários IV”, 1855 [1980: III, 67]) The Geração de 70 (Generation of 1870) stands as one of the most remarkable groupings in Portuguese intellectual history, counting among it the celebrated writers, public intellectuals and politicians Eça de Queirós, Oliveira Martins, Ramalho Ortigão and Teófilo
    [Show full text]
  • Quental, Antero De
    New Selection 1 1 2 Quental, Antero de Cultural Current: Literature (fictional prose/drama), Literature (poetry/verse) Cultural Community: Portuguese Author: Martins Gomes, António Quental, Antero de Quental, Antero de Antero de Quental was born in 1842, in Ponta Delgada, Azores, into a noble and religious family. At 13, he moved to Coimbra, where he attended secondary school; three years later, he started his law studies, during which he founded the Sociedade do Raio (“Ray Society”), a secret organization that questioned certain academic traditions and led to the university rector’s resignation. His lyrical production began in 1860, following a Romantic vein; this took a turn towards revolutionary idealism with Odes modernas (“Modern odes”) of Title page, “Causes of 1865. A concluding note proclaims modern poetry as the “voice of the Decay of Peninsular People Revolution” with a sacred mission in the combat for social justice. in the Last Three Centuries” After finishing his degree, Antero played a central part in the Questão Coimbrã (Coimbra Controversy), a restless time in Portuguese cultural life which set his generation against that of older Romantics such as Castilho. In 1866, he moved to Lisbon, where he worked as a typesetter, and exercised that same profession when he moved to Paris at the beginning of 1867. Antero became involved in revolutionary activism inspired by Michelet and Proudhon. In 1868, after the Spanish Revolution and Queen Isabella II’s deposition, Antero de Quental published “Portugal before the revolution of Spain”, praising Antero de Quental (1887) republicanism and proposing an Iberian federalism. In Lisbon, he formed the Cenacle, a debating society that organized the Democratic Conferences of the Lisbon Casino with its positivist, republican and secular ideas.
    [Show full text]
  • Cultura, Vol. 28 | 2011, « Das Leituras E Dos Leitores - Entre Flologia E História » [Online], Posto Online No Dia 24 Janeiro 2013, Consultado a 22 Setembro 2020
    Cultura Revista de História e Teoria das Ideias Vol. 28 | 2011 Das leituras e dos leitores - Entre filologia e história Edição electrónica URL: http://journals.openedition.org/cultura/77 DOI: 10.4000/cultura.77 ISSN: 2183-2021 Editora Centro de História da Cultura Edição impressa Data de publição: 1 junho 2011 ISSN: 0870-4546 Refêrencia eletrónica Cultura, Vol. 28 | 2011, « Das leituras e dos leitores - Entre filologia e história » [Online], posto online no dia 24 janeiro 2013, consultado a 22 setembro 2020. URL : http://journals.openedition.org/cultura/77 ; DOI : https://doi.org/10.4000/cultura.77 Este documento foi criado de forma automática no dia 22 setembro 2020. © CHAM — Centro de Humanidades / Centre for the Humanities 1 SUMÁRIO Leitores, tipógrafos e filólogos João Luís Lisboa Das leituras e dos leitores - Entre filologia e história Filologia e história do livro Artur Anselmo Edição crítica da Écloga Piscatória de Santa Rita Durão(ou um pequeno ensaio filológico) Marcello Moreira O Índice Inquisitorial de 1624 à luz de novos documentos Maria Teresa Payan Martins Uma jornada de Lisboa a Roma leitura e interpretação de um manuscrito setecentista Maria Luísa Cabral Contributo para o perfil do público leitor do Real Gabinete Português de Leitura (1837-1847) Fabiano Cataldo de Azevedo Tipografia Cácima a propósito dos cadernos e fascículos que aí se imprimiram Patrícia de Jesus Palma Varia Boccaccio e Petrarca na pintura exemplar de Botticelli António Martins Gomes a dissolução do espaço público democrático Da utopia à distopia José
    [Show full text]
  • (2019) “Chapter Fifteen: Portuguese-Catalan Intellectual Networks in the Inter-War Period: Interconnections Between Noucentisme and Renascença Portuguesa”
    (2019) “Chapter Fifteen: Portuguese-Catalan Intellectual Networks in the Inter-War Period: Interconnections between Noucentisme and Renascença Portuguesa”. Revisiting Centres and Peripheries in Iberian Studies: Culture, History and Socioeconomic Change. Ed. Mark Gant. Cambridge Scholars Publishing, pp.233-263. ISBN (10): 1-5275-3689-0, ISBN (13): 978-1-5275- 3689-0 233 Revisiting Centres and Peripheries in Iberian Studies: Culture, History and Socioeconomic Change Edited by Mark Gant Revisiting Centres and Peripheries in Iberian Studies: Culture, History and Socio-economic Change Edited by Mark Gant This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Mark Gant and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-3689-0 ISBN (13): 978-1-5275-3689-0 (2019) “Chapter Fifteen: Portuguese-Catalan Intellectual Networks in the Inter-War Period: Interconnections between Noucentisme and Renascença Portuguesa”. Revisiting Centres and Peripheries in Iberian Studies: Culture, History and Socioeconomic Change. Ed. Mark Gant. Cambridge Scholars Publishing, pp.233-263. ISBN (10): 1-5275-3689-0, ISBN (13):
    [Show full text]
  • Terra De Charneca Erma E De Saudade: a Construção Simbólica Do Alentejo
    Terra de charneca erma e de saudade: a construção simbólica do Alentejo português na obra de Florbela Espanca (1916 – 1930). PRISCILLA FREITAS DE FARIAS UNIVERSIDADE FEDERAL DO RIO GRANDE DO NORTE PRÓ-REITORIA DE PÓS-GRADUAÇÃO CENTRO DE CIÊNCIAS HUMANAS, LETRAS E ARTES PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA – MESTRADO ÁREA DE CONCENTRAÇÃO: HISTÓRIA E ESPAÇOS LINHA DE PESQUISA II: CULTURA, PODER E REPRESENTAÇOES ESPACIAIS TERRA DE CHARNECA ERMA E DE SAUDADE: a construção simbólica do Alentejo português na obra de Florbela Espanca (1916 – 1930). PRISCILLA FREITAS DE FARIAS NATAL/RN 2014 PRISCILLA FREITAS DE FARIAS TERRA DE CHARNECA ERMA E DE SAUDADE: A CONSTRUÇÃO SIMBÓLICA DO ALENTEJO PORTUGUÊS NA OBRA DE FLORBELA ESPANCA (1916 – 1930). Dissertação apresentada como requisito parcial para a obtenção do grau de mestre no Curso de Pós- graduação em História, Área de Concentração em História e Espaços, Linha de pesquisa II, Cultura, Poder e Representações Espaciais, da Universidade Federal do Rio Grande do Norte, sob a orientação do Prof. Dr. Durval Muniz de Albuquerque Júnior. NATAL/RN 2014 PRISCILLA FREITAS DE FARIAS TERRA DE CHARNECA ERMA E DE SAUDADE: A CONSTRUÇÃO SIMBÓLICA DO ALENTEJO PORTUGUÊS NA OBRA DE FLORBELA ESPANCA (1916 – 1930). Dissertação aprovada como requisito para obtenção do grau de Mestre no Curso de Pós-Graduação em História da Universidade Federal do Rio Grande do Norte, pela comissão formada pelos professores: _________________________________________ Durval Muniz de Albuquerque Júnior __________________________________________ Fábio Henrique Lopes ________________________________________ Francisco das Chagas Fernandes Santiago Júnior ____________________________________________ Raimundo Nonato Araújo da Rocha Natal, 31 de Agosto de 2015. Com toda minha manifestação de amor, de admiração e de gratidão, dedico este trabalho aos meus pais (Silvana e Luiz Eduardo) e aos meus irmãos (Ana Paula, Pablo e Pedro), presenças marcantes na minha vida.
    [Show full text]
  • Antero De Quental Nas Leituras "Integralistas"
    Antero de Quental nas leituras "integralistas" Autor(es): Torgal, Luís Reis Publicado por: Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/43754 DOI: DOI:https://doi.org/10.14195/2183-8925_13_17 Accessed : 10-Oct-2021 02:40:13 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. impactum.uc.pt digitalis.uc.pt Revista de História das Ideias LUÍS REIS TORGAL* Vol. 13 (1991) ANTERO DE QUENTAL NAS LEITURAS "INTEGRALISTAS" 1. História e Ideologia - as diversas leituras de Antero É conhecida a afirmação polémica de Benedetto Croce de que a História é sempre "contemporânea" (‘).
    [Show full text]