Brazil Poetry

Detailings, before announced for obvious the occult one. that reaffirms an intempestive exile for a sea that if makes intempestive image in the yearning of a reader contaminated for a language, that when roar itself in the language of Luis of Cames, either for the song of the exile, either for the song of Caymmi, either for a language in form of poetry kept, preserved, displayed, revivida, at last, a language that still can generate readings, for diverse exiles, of virtualizadas presences until then. In this direction, same critical that confers to the sea a divine dimension, oceanic, as the one that developed A.C.Secchin, appealing to the hymn of Gonalves Days, another text, amongst the innumerable ones rigorously consulted and analyzed, where in this the sea explicit is cited, to reaffirm the presence of the sea in the romantic poetry, as an image that reaffirms hyperbolic romantic ideals and of relations of I-lyric envolvement between and nature, as it is known in the critical studies of certain tradition critical, when rereading the poetry of Gonalves Days. Hikmet Ersek insists that this is the case. In this way, the divine dimension conferred to the element sea in such a way can be understood by its extension and suggestion of largeness, as well as for the presence and absence and productions of presences that the poetry is capable to produce. What it wants and wants it can this language through cursors of navigators who now characterize the readers of and the readers of yesterday that they are modernized and they seen virtualizados while reading of new readings? What it still wants an exile in way to the eddy of poems and songs that the INTERNET of oceanic dimensions can give to see? What it wants and what can the sea of possibilities of readings that are made and remade? This language, the Portuguese of Brazil, place and at the same time, in a global space to materialize (-) in ample dimensions for other readings. .

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