About this Item: Condition: As New. Unread copy in perfect condition. Published by Createspace Independent Publishing Platform New Book. Shipped from UK.
Established seller since Seller Inventory IQ Published by Independently Published, United States Language: Portuguese. Seller Inventory APC Published by Frankfurt a.
About this Item: Frankfurt a. Published by Stuttgart : Edition Fischer From: Petra Gros Koblenz, Germany. About this Item: Stuttgart : Edition Fischer, Schnitt und Einband sind etwas staubschmutzig; der Buchzustand ist ansonsten ordentlich. First Ed, unstated. DJ shows only minor indications of very light use: some very faint smudges, rubbing and barely discernible soiling; the price has been clipped; mylar-protected. Remains close to 'As New'. Translated from the Portuguese by Roy Campbell.
Hardback with DJ. Zola considered him to be far greater than Flaubert. Critics rank him with Dickens, Balzac and Tolstoy.
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His works have been translated into about 20 languages. Published by Josef Knecht, Carolusdruckerei, Frankfurt a. M M, Leinen ohne SU, insgesamt mit Gebrauchsspuren und nachgedunkelt, Buchblock teils fleckig, leicht schiefgelesen, handschriftlicher Eintrag auf Vorsatz, Seiten gut. From: Libreria Raices Alicante, Spain. Condition: Bueno. From: biblion2 Obersulm, Germany. About this Item: Knecht. Condition: Good. Sofortversand aus Deutschland. Artikel wiegt maximal g.
Andere Illustration des Einband. Vorsatz mit Edding angestrichen. Ohne SU. Seller Inventory ah.
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Serra Maria Jose De
Continue shopping. United Kingdom Uruguay. Search Within These Results:. Seller Image. From: medimops Berlin, Germany Seller Rating:. Der Mann Miguel Serra : Roman. Spanischen v. Eva Ruth Benzing. Richtiges Malen von Aktbildern. The City and the Mountains [A Cidade e as serras]. Eca de Queiroz. Garcia de Resende followed the model of contemporaneous Spanish cancioneros and the influence of Castilian poetry is evident in some of the poetic forms and in the bilingualism of some of the Portuguese poets in the Cancioneiro Geral.
With more or less macabre additions, the story provided the subject of many poems and plays in various languages.
PDF A cidade e as serras - revised and illustrated (Portuguese Edition)
Gil Vicente c. His innovative autos brought into court entertainment virtually all aspects of Portuguese life through typical characters placed in paradigmatic situations: disappointed returnees from India, adulterous wives, wise women, bawds, corrupt clergy, merrymaking friars, overweening nobles, cowardly braggarts, ridiculous versifiers, charlatan doctors, venal judges, grasping functionaries, dishonest tradesmen, thieving usurers, gullible peasants, wise fools, astrologers, witches, Jews, Moors, gypsies, blacks — in short, virtually the whole of Portuguese society.
His satirising of paid indulgences, the idolatrous cult of saints, rote prayers and superstitious beliefs indicates that a reforming attitude within Catholic orthodoxy was still acceptable in the courts to which he was attached. The continuous thread running through his vast and complex work is the imperative of reason in a world subject to deception, whether arising from an apparent love that usurps individual identity, or exercised by a political or religious power incompatible with collective liberty. In a poem published in the Cancioneiro Geral, Bernardim Ribeiro crystallises his existential situation as that of a self divided by an inner conflict that makes him his own enemy.
His eclogues have autobiographical suggestions of an unfulfilled love that might be at the heart of this self-conflict. In one of his elegies, the spectral apparition of the beloved woman leads to a vision of darkness as the image of life. A nihilistic sestina expresses a longing for the destruction of the spiritual will vontade buried in matter. In this long cantiga de amigo, which is also a romance of chivalry told from a female perspective, there is no discernible distinction between the observed and the imagined, the objective and subjective, cause and effect, dream and reality, life and death, present, past and future.
This idea is not, however, accepted by traditionalist criticism.
He was the author of the tragedy Castro, which is generally considered the greatest work in Portuguese theatre after Gil Vicente. Both in his unruly youth and in his life in the service of the Empire he fell foul of the law on a number of occasions and was imprisoned in Portugal and India. In social and literary terms he was an outsider, who, by virtue of his genius, has remained the central figure in Portuguese culture up to our own time. An anti-Petrarchan giving a new dimension to an ostensibly Petrarchan poetic diction, he is a disturbingly modern poet, a poet of uncertainty in a world in transition who used the Humanist and Christian Neoplatonic tradition to which he belonged in a quest for meaning that counterposes doubt and belief, rupture and continuity, immanence and transcendence, sexuality and spirituality, experience and faith.
In a body of work built upon antinomies, the existential peregrination it depicts postulates something as innovatory as the right to happiness on earth. Like his lyric poetry his epic is compounded of antinomies. From the pastoral perspective, associated with the myth of the Golden Age, the very subject matter of epic — voyages and quests, wars and conquests, wealth and power — reflects the decadence that led humans to fall into the Iron Age.
Epic celebrates the deeds that pastoral condemns. In the same way, what the book admiringly describes of China and Japan is part fact, part fiction, using these nations and cultures as a critical mirror of Portuguese society and European culture in his own time. This criticism coincided with an intensified Christian militancy in the home country.
Following the establishment of the Inquisition, the old Humanist spirit of the Portuguese Crown had given way to religious fanaticism as the perceived decadence of the country continued. Imported wealth benefited the new mercantile oligarchy rather than the common people. Many false Sebastians were to appear over coming decades.phoeguifreegavsur.ml
The Saab-Pedroso Center for Portuguese Culture and Research at UMass Lowell
The latent millenarianism resulting from the convergence between Jewish and Christian prophetic traditions was magnified into a persistent affirmation of subjugated national identity, in what came to be known as Sebastianism, with the dead king transformed into a nebulous Hidden King, a bizarre hybrid of King Arthur, Emperor Frederic Barbarossa and a militantly Catholic Messiah.
While Portuguese power in the East waned, it grew stronger in the Americas. Angola remained Portuguese thanks to the intervention of slave traders in Brazil, which had become the basis of the Portuguese economy. Large numbers of the Portuguese mercantile class, including a considerable proportion of New Christians, moved to Spain, accentuating the growing economic and cultural provincialisation of Portugal. He exercised diplomatic functions in Europe, was investigated and imprisoned by the Inquisition and returned to Brazil at the age of seventy.
Francisco Manuel de Melo alternated between Portugal and Spain as a diplomat and courtier, frequenting the brilliant court in Madrid. In , his sentence was commuted to exile in Brazil, where he recouped his fortunes by participating in the slavocratic sugar trade. In the Iberian context, he was active in defending the rights of his aristocratic class and his oppressed nation. Vieira takes up and recasts the Sebastianic tradition, not to announce the literal return of the Hidden King but to foresee the coming of an age in which the Sebastianic essence could be embodied in other Portuguese monarchs.
This age would usher in a spiritual Fifth Empire when universal peace would reconcile all peoples and nations until the end of time. What distinguishes this work from other prophetic visions is the exercise of an exegetical logic that literalises prophecy as a product of reason rather than faith. It is as though prophetic mysticism was being merged with science fiction about future worlds. Wealth from Brazil permitted the upkeep of a sumptuous court in a country that produced little wealth of its own. Religious repression in Portugal increased, if anything, after the Restoration, with disastrous consequences for culture.
He was born in Rio de Janeiro, where his New-Christian family had taken refuge from the Inquisition, but returned to Portugal in where he delighted Lisbon audiences with his musical comedies, ingeniously performed by marionettes. The Portuguese baroque literature of which Francisco Manuel de Melo was one of the first representatives drifted into a cultism that was occasionally brilliant formally and in some aspects a forerunner of modern visual poetry but symptomatic of a repressed society that revealed itself in a monkish waggishness, necrophiliac morbidity and caricatural depictions of women.
This satirical vein had a counterpart in the rarefied atmosphere of eighteenth-century Arcadian literature in Portugal, however, in the more obscene, and perhaps also more original, compositions of the bohemian and adventurous pre-Romantic poet Manuel Maria Barbosa du Bocage — Somewhat surprisingly, Bocage benefited from the patronage of the Marquise de Alorna — , the cultured hostess of a celebrated literary salon who was also a cosmopolitan polygraph.