3 edition of A Centenary Pessoa found in the catalog.
|Statement||Carcanet Press Ltd.|
|Publishers||Carcanet Press Ltd.|
|LC Classifications||June 30, 2006|
|The Physical Object|
|Pagination||xvi, 133 p. :|
|Number of Pages||53|
nodata File Size: 1MB.
Drinnen oder draussen?: dieoffentlicheosterreichische EU-Beitrittsdebatte vor der Volksabstimmung 1994
It is an essential introduction to the work of one of the most original European poets of the twentieth century. Central to his world-view is the idea that in the world A Centenary Pessoa us, all is surface: things are precisely what they seem, there is no hidden meaning anywhere. 'Pessoa' shares many essential affinities with his peers, Caeiro and Campos in particular. Taylor edsA Centenary Pessoa Carcanet Press, 1995 Suzette Macedo trans.
" --Roy Campbell, author, The Flaming Terrapin and Broken Record• All we have are his written accounts of his motives and the speculations of others. Absolute Spiritualist and Absolute Materialist "deny all objective reality to one of the elements of Experience".
It's a statement that presents the speaker as both meek and grandiose: I have nothing, I am nothing, but don't you wish you had what I have, don't you wish to be what I am? Hollander, John, "Quadrophenia," in New Republic, September 7, 1987, pp. However much I love them, I love you even more.
He does not let any thoughts arise when he looks at a flower. The trunk was discovered, after his death, in his rented room in Lisbon.
It is sometimes said that the four greatest Portuguese poets of modern times are Fernando Pessoa. Because he never had children of his own, Pessoa was father to his heteronyms, and they were quite a handful: there was also the suicidal Baron of Teive, who produced just one manuscript, The Education of the Stoic, having allegedly destroyed everything else he had written.
Pessoa-himself, I believe, would undoubtedly concur with the melancholy Dane. They were born to save him from this life that he felt ill-equipped to live, or that offended his aesthetic and moral sensibilities, or that simply bored him. the only thing a A Centenary Pessoa tells him is that it has nothing at all to tell him. It includes translations of a broad selection of his poems and his extraordinary prose, and some of his original English writings.
"Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms," he wrote.
His multiple personalities clamor for multiple translations. " For some authors, the task of writing is a descent into the self. Though he dropped out after two years, he got a fine education on his own by sequestering himself in the National Library to read literature, history, religion, and philosophy. Later he worked as a bookkeeper. Not only were their styles different; they thought differently, they had different religious and political views, different aesthetic sensibilities, different social temperaments.
A major introductory essay by Octavio Paz, a critical anthology, two posthumous 'interviews' and illustrations from the Pessoa archive are also included, to reveal the world of Pessoa in all its richness.
As Zenith noted, "Psychoanalysis is too poor a science to explain the case of Pessoa, who seems to have been simply, mysteriously, possessed by a demon—that of detachment.
" Richard Zenith calls 'Pessoa' '[Pessoa's] most intellectual and analytic poetic persona.