Resumen: En 1987, el importante poeta peruano Javier Sologuren (Lima, 1921-2004) publicó Catorce versos dicen…, conjunto de sonetos que se apartan de los usos de la poesía coloquial, hegemónica por aquellos años. Sologuren quiere mostrar que el soneto es válido para desplegar procedimientos de la poesía moderna y comunicar su experiencia de sujeto contemporáneo. Este artículo examina cómo el poeta actualiza el soneto desde las convenciones temáticas y formales con que lo recibió de la lírica española del Siglo de Oro, tornando en polisemia la paradoja barroca y la cerrazón estructural del soneto.

Abstract: In 1987, the important Peruvian poet Javier Sologuren (Lima, 1921-2004) published Catorce versos dicen…, a set of sonnets that differed from the colloquial poetry that was hegemonic at the time, in attempt to show that the sonnet was a valid form in which to deploy modern poetic procedures and to communicate his experience as a contemporary poet. This article examines how Sologuren updates the sonnet, freeing it from the thematic and formal conventions inherited from Golden Age Spanish poetry, and turning baroque paradox and the structural closure of the sonnet into polysemy.

Resumen Este artículo presenta los resultados de una investigación cualitativa de un proyecto de aula centrado en la literatura en el que los estudiantes de EFL (inglés como lengua extranjera) interactúan de manera extraña con el famoso Soneto 18 de Shakespeare “Shall I compare thee to a summer’s day” y el adulto joven (YA) de Patrick Ness. Narrativa de ficción Diferente para chicos. Este proyecto se llevó a cabo en una escuela secundaria alemana (Gymnasium) con una clase de nivel superior de inglés avanzado de Year 11. El fundamento central de este proyecto, informado por una base teórica de los estudios literarios, la pedagogía EFL y la teoría queer, fue rastrear hasta qué punto los procesos de aprendizaje de los estudiantes en relación con estos dos textos pueden validar, irritar o disipar las lecturas e interpretaciones literarias heteronormativas, que se enmarcan aquí como heteronormalización. Los resultados muestran que un enfoque queer puede atraer a todos los estudiantes hacia interpretaciones literarias críticas y comprometidas, con cada estudiante mostrando negociaciones altamente individuales ubicadas entre la visibilidad queer inicial y la heteronormalización continua.

Abstract This paper presents qualitative research findings from a literature-focused classroom project in which EFL (English as a foreign language) learners engage queerly with Shakespeare’s famous Sonnet 18 “Shall I compare thee to a summer’s day” and Patrick Ness’ young adult (YA) fiction narrative Different for Boys. This project was carried out at a German secondary school (Gymnasium) with a year 11 upper-level class of advanced English. The central rationale of this project - informed by a theoretical basis of literary studies, EFL pedagogy, and queer theory - was to retrace how far the learning processes of students concerning these two texts may validate, irritate or dissipate heteronormative literary readings and interpretations, which are framed here as ‘hetero-normalization’. The results show that a queer focus can draw all learners into critical and committed literary interpretations - with each learner displaying highly individual negotiations located between upfront queer visibility and continued ‘hetero-normalization’.

Abstract The purpose of the present article is to present six sonnets featured in first book published by Sérgio Milliet, Par le sentier (1917), in their original language and accompanied by their corresponding translation. They may not excel in creativity, but they reveal a young and sensitive writer who not only had good notions of the poetry-making process in fashion at the time in the French literary system, but also some familiarity with the work of authors less known to the contemporary reader, such as Albert Samain. Even though Sérgio Milliet abandoned writing in French when he returned definitely to Brazil in 1925, from this literary experience he kept a repertoire that was constantly drawn upon in his literary criticism. The presentation of such sonnets is preceded by a few comments about this inaugural work and is followed by a brief analysis of the translation strategies involved. 1917, 1917 , (1917) creativity poetrymaking poetry making system reader Samain 1925 criticism involved 191 (1917 192 19 (191 1 (19 (1 (

Resumo O presente artigo tem por objetivo apresentar seis sonetos publicados no livro de estreia de Sérgio Milliet, Par le sentier (1917), no original e acompanhados de tradução. Se não primam pela criatividade, tais sonetos revelam um jovem e sensível escritor que não apenas tinha boas noções do fazer poético em voga no sistema literário francês, mas também familiaridade com a obra de autores menos conhecidos dos leitores de hoje, como Albert Samain. Não obstante tenha abandonado a escrita em língua francesa quando de seu retorno definitivo ao Brasil em 1925, Sérgio Milliet guardará dessa experiência literária um repertório que será continuamente acionado em sua crítica. A apresentação dos poemas é precedida de alguns comentários acerca dessa obra inaugural e é sucedida de uma breve análise das estratégias de tradução. 1917, 1917 , (1917) tradução criatividade francês hoje Samain 1925 crítica 191 (1917 192 19 (191 1 (19 (1 (

Arnold van Wyk's reputation as a composer of art songs rests on his two song cycles Vier weemoedige liedjies and Van liefde en verlatenheid as well as several single songs. The Petronius songs, a cycle of five songs for baritone and small instrumental ensemble (flute, viola, cello, horn, percussion, harp and piano), are still unpublished and thus unknown to the wider public. The songs offer rich research material and deserve to be published and performed. The texts of these songs, in Latin, are taken from the Satyricon by Petronius Arbiter (c. 27-66 CE), a member of the inner court of the Roman emperor Nero around 62 CE. Petronius describes Roman life of that era in a simple but colourful way. The mood of the chosen five poems is nocturnal and, in some cases, borders on the melancholic. The topics do not shy away from the occasional eroticism or even homoeroticism. Van Wyk began working on the song cycle during 1957-1959 but, following an interruption, only completed it in 1964. Factors that contributed to the slow compositional progress included the composer's heavy workload at the College of Music, Cape Town, his preoccupation with other compositional projects, such as the orchestral work Primavera, and his unstable health, depression and periodic compositional droughts. During February 1960 Van Wyk resigned as senior lecturer at the College of Music and in October that year became a lecturer at Stellenbosch University's Department of Music. Like Van liefde en verlatenheid, the Petronius cycle is cast in a symmetric form: the first and fifth songs balance each other in respect of sentiment and style, as do the second and fourth, while the third song displays a character of its own. The first and last songs (Qualis nox and Sit nox) are lyrical, while the second and fourth ones (Lecto compositus and Somnia quae mentes ludunt) represent a more narrative approach. For the third song, Foeda est, the accompaniment was restricted to piano, giving a unique character to the song and emphasising its singular position at the centre of the cycle. In discussing the various songs, this article draws attention to Van Wyk's ability to set words to music in a highly imaginative way, and to his sensitivity for the feelings expressed in the texts. His compositional proficiency is highlighted, especially his extraordinary skill in creating atmosphere and "painting" with musical sounds. The article highlights how the accompaniments - through recurring motives, varying textures, changes in tempo, the frequent use ofpedal points and the continuous presence of the piano - not only underline the songs' formal structure but contribute to the music's evocative character. Because of their length and picturesque content, Lecto compositus and Somnia quae mentes ludunt posed a special challenge to the composer. Van Wyk succeeded in representing colourful scenes by means of an imaginative use of the timbre of the accompanying instruments. In each song one instrument is accorded prominence, to capture and represent the poem's essence. Complex chord structures, double spelling of notes in a chord, some abrupt modulations and frequent use of the tritone in different keys, as well as the already mentioned pedal points, characterise the harmonic content of the songs. The taxing vocal part requires a skilled baritone voice. Considering the wider context of this Van Wyk song cycle, one should not overlook the possible influence that some of Benjamin Britten's works may have had on it. Although Van Wyk's songs exhibit their own characteristic style there are several areas where marked similarities with Britten's works are noticeable. Worth mentioning are the original high tessiture and lyrical sound of Van Wyk'sfirst attempts at setting Qualis nox and Sit nox to music. These characteristics remind one of Britten's Les illuminations and Serenade for Tenor, Horn and Strings. The B-section ofVan Wyk's Somnia quae mentes ludunt could be compared with many examples of explicit word painting in Britten's songs, such as Rats Away! from Our Hunting Fathers, as well as Below the thunders of the upper deep and Midnight's bell goes ting, both from Nocturne. Even the use of descriptive melismas on words like ludunt (tease), sanguine (blood) and quatit (shake) can be compared with Britten's treatment of l'ecume (the foam) and tourbillons (whirlpools) in Marine from Les illuminations and lulling in Sonnet from Serenade. The aim of this article is to bring this extraordinary song cycle to the attention of performers and researchers alike.

Die beeld van Arnold van Wyk as liedkomponis berus op sy liedsiklusse Vier weemoedige liedjies en Van liefde en verlatenheid, asook enkele losstaande liedere. Die beeld behoort uitgebrei te word deur kennis te neem van die ongepubliseerde Petronius-liedere, waarvan die komposisiesketse en outograwe bewaar word in die Arnold van Wyk-versameling by die Universiteit Stellenbosch. Die Petronius-liedere is 'n liedsiklus vir bariton en klein instrumentale ensemble (fluit, altviool, tjello, Franse horing, perkussie, harp en klavier) op vyf Latynse tekste uit die Satyricon van Petronius Arbiter (c. 27-66 GE). Die komposisieproses, begin gedurende 1957-1959, is toe onderbreek en is eers in 1964 voltooi. Die onderskeie liedere toon Van Wyk se vermoe om gedigte verbeeldingryk te toonset en om 'n oortuigende vormeenheid te gee aan elke lied en die siklus as geheel. Hy ontgin die instrumente se klankkarakter in die ensemble op vindingryke wyse en gebruik die begeleiding tegelyk as middel tot klankskildering en vormgewing. Saambindende elemente in die siklus is die eensoortige sentiment van die tekste, die klavier se deurlopende teenwoordigheid, die wisselnootmotief, en die gebruik van die tritonus in verskillende toonsoorte, asook pedaalpunte. Akkoordsamestellings lees dikwels moeilik weens die dubbele spelling van note. Nadat elke lied individueel bespreek word, word gewys op die moontlike invloed van Benjamin Britten se werk op die Petronius-liedere.

Resumo Dois estudiosos (X e Y) conversam sobre o poema “Mundo interior”, de Machado de Assis, abordando, a partir de sua forma exterior, a forma interior e suas significações. Deixando de lado as relações temático-filosóficas do poema com a prosa do autor, considerando-o, exclusivamente, como um texto poético autônomo, os interlocutores analisam o texto e ensaiam alguma interpretação dele.

Abstract Two scholars (X and Y) talk about the poem “Mundo interior” by Machado de Assis. From the exterior form of the poem, they access its meanings. Leaving aside the thematic-philosophical relations of the poem with the author’s prose, considering the sonnet exclusively as an autonomous poetic text, the interlocutors analyze it and try an interpretation of this Machado’s sonnet.

Abstract This article tries to show the evolution of the famous poetic composition which is known as sonnet in the country with the most Spanish speakers, Mexico. As a common thread, it traces the rhythmic accents that have their origin in Italy and that offer many aspects in contemporary Mexican poetry. The hypothesis of the change from sapphic accent (in the fourth syllable) to emphatic (in the sixth syllable) points out that the rhythm that fell at the beginning of the verse is lagging in Spanish due to the conversion of rhythmic and antirhythmic accents in pursuit of a Castilian octasyllabic pattern, which reveals the qualitative analysis. Likewise, the validity that the sonnet continues to have after eight centuries shows the possibilities offered by a country where the avant-garde and neo-avant-garde movements of the 20th century extended the limits of the fourteen rhyming verses, so frequent but scarcely studied in recent years.

Resumen Este artículo trata de mostrar la evolución de la famosa composición poética llamada soneto en el país con más hispanohablantes, México. Para ello, como hilo conductor, traza los acentos rítmicos que tienen su origen en Italia y que ofrecen numerosas vertientes en la poesía mexicana contemporánea. Se concluye que la hipótesis del cambio de acento sáfico (en la cuarta sílaba) al enfático (en la sexta sílaba) demuestra que el ritmo que recaía al principio del verso va atrasándose en castellano por conversión de acentos rítmicos y antirrítmicos en pos de un patrón octasilábico castellano, que deja ver el análisis cualitativo. Asimismo, la vigencia que sigue teniendo el soneto después de ocho siglos evidencia las posibilidades que plantea un país en el que las vanguardias y neovanguardias del siglo XX ampliaron los límites de los catorce versos rimados, tan frecuentes pero tan poco estudiados en los últimos años.

RESUMO Este artigo convoca as concepções do Círculo de Bakhtin para redesenhar atividades de leitura literária propostas em livro didático brasileiro, tornando-as mais responsivas à vida contemporânea. Tem como base os conceitos de dialogismo e de responsividade, evocados para contribuírem com a percepção da infecundidade do uso do modelo de atividades vigente na formação de leitores (literários) e para apontar possibilidades na elaboração de atividades abertas ao diálogo das vivências dos alunos/leitores com os textos literários, bem como convidativas à expressão das atitudes responsivas ativas dos alunos frente à leitura literária. Uma atividade baseada em soneto camoniano, presente em livro didático aprovado pelo PNLD 2018, é analisada na tentativa de contribuir com a desaprendizagem de práticas referentes à abordagem da leitura literária na escola. Por fim, o mesmo soneto camoniano é abordado para elaboração de proposta de atividades pautada no dialogismo e na responsividade.

ABSTRACT This article summons the conceptions of the Bakhtin Circle to redesign literary reading activities proposed in Brazilian textbooks, making them more responsive to contemporary life. It is based on the concepts of dialogism and responsiveness and evokes such concepts to contribute to the perception of infertile use of the current activity model in the (literary) reader’s formation. Besides, it points out possibilities to the elaboration of activities open to the dialogue of students/readers’ experiences with literary texts as well as inviting to the expression of the students’ active responsive attitudes towards literary reading. The article analyzes an activity based on a Camonian sonnet, which is present in one of the textbooks approved by the National Book and Teaching Material Program (Programa Nacional do Livro Didático - PNLD) 2018, in an attempt to contribute to the unlearning of practices regarding the approach to literary reading in school. Finally, the same Camonian sonnet is used to elaborate a set of activities grounded on dialogism and responsiveness.

Resumo Este escrito terá por objetivo, pela apresentação da tradução a seis sonetos escritos por Mahmoud Darwish constantes no livro A Cama da Forasteira do ano de 1998, refletir acerca da questão do(s) soneto(s) darwishiano(s) contra o gesto, ou função-, soneto. Quanto à linguagem, em apresentando os poemas árabes vis-à-vis de suas contrapartes portuguesas, os sonetos serão comentados no que, em árabe, exibem de efeitos e efetividades linguístico-poéticas e como tais esquemas sonoros, semânticos, formais e discursivos possam ou não ser tra(du)zidos à língua portuguesa, levando em conta as implicações linguísticas, logo poéticas, da questão do gênero e número morfológicos, as figuras de duplos e o tema do Dois, tópico e típico do soneto qua gênero (textual).

Abstract The purpose of this paper is, by presenting a translation to six sonnets written by Mahmoud Darwish in the 1998 book The Stranger’s Bed, to reflect on the question of the Darwishian sonnet(s) against the gesture, or function, of the sonnet. As for language, in presenting the Arabic poems vis-à-vis their Portuguese counterparts, the sonnets will be commented on that which, in Arabic, exhibits linguistic-poetic effects and effectiveness insofar as such sonorous, semantic, formal and discursive schemes can or cannot be rendered in Portuguese, taking into account the linguistic and poetic implications of gender and morphological number, the figures of doubles and the theme of the Two, which is topic, typical to the sonnet qua (textual) genre.

Abstract A lot of things happened between the time Federico García Lorca wrote his sonnet “El poeta pide a su amor que le escriba” and its eventual publication under this title as part of the sequence of Sonetos del amor oscuro. The purpose of this article is to shed light on some of the unexplained aspects in the transmission of the poem from manuscript to published text. To this end it offers new data concerning the source of one of the transcriptions used to edit the poem, together with information about the part played in this story by José Alameda.

Resumen El soneto de Federico García Lorca “El poeta pide a su amor que le escriba” arrastró una larga historia desde que fue concebido por el poeta hasta que fue publicado con este título y como parte integrante de la serie de Sonetos del amor oscuro. Este artículo propone aclarar algunas de las incógnitas de esta historia de transmisión textual. Con tal finalidad, el artículo aporta nuevos datos que documentan, por un lado, la procedencia del apógrafo que ha servido de texto base para editar el poema, y, por otro, el papel que ha desempeñado en esta historia José Alameda.

Resumo: Machado de Assis (1839-1908), um dos mais famosos escritores brasileiros, oferece um retrato de Bento de Espinosa em um soneto de 1880. Em seus versos, o poeta combina, do início ao fim, a imagem do pensador como operário (polidor de lentes) e como filósofo (criador de uma filosofia). Apesar de certa imprecisão nos traços estampados no retrato, o artigo pretende mostrar que o soneto pode, tanto quanto o poema “Spinoza”, de Jorge Luis Borges, operar como um primeiro convite ao estudo do espinosismo. Embora não haja qualquer intenção de realizar uma exegese propriamente literária do poema, busca-se desvendar as singularidades da imagem machadiana de Espinosa, confrontando-a aos escritos do filósofo e aos dados disponíveis a respeito de sua vida.

Abstract: Machado de Assis (1839-1908), one of the most well-known Brazilian writers, offers a portrait of Baruch Spinoza in a sonnet of 1880. In its verses, the poet combines the image of the thinker as a craftsman (polisher of lenses) and as a philosopher (creator of a philosophy). This article intends to show that despite the inaccuracy in the sonnet’s portrayal of certain aspects of its subject, it can nevertheless, just like the poem “Spinoza” written by Jorge Luis Borges, act as a first call to the study of Spinozism. Without intending to perform a proper literary exegesis of the poem, the article seeks to unveil the singularities of Machado’s image of Spinoza, confronting it with the philosopher’s works and biography.

Resumo: Devido ao lugar impreciso que Joaquim Cardozo ocupa na historiografia literária brasileira, a exploração de sua obra aqui estará circunscrita ao raio de alcance de uma possível expressão individual, recortada em três sonetos qualificados pelo mesmo adjetivo:“positivos”. Com isso, a positividade da qualificação textual deverá se converter em especulação sobre o sentido construído circunstancialmente naquela composição, que é tripartida e se desdobra na reflexão sobre o vocabulário do autor, notadamente pela utilização modalizada do adjetivo. Assim, os três sonetos serão considerados como instrumentos de acesso ao estilo do autor através do léxico utilizado. O soneto seria, pois, o cenáculo através do qual se materializa uma expressividade singular, mais facilmente identificável pelos limites da forma fixa, mas que deverá sinalizar algo da sua obra como um todo, onde o ritmo, a métrica, o vocabulário e o fraseado dos seus versos adquirem outros contornos, já que sofrem interferência de outras condicionantes. Óbvio está que a utilização da forma fixa por Cardozo desestabiliza o sentido do próprio soneto, vincando-se a seu modo na tradição.

Abstract: Due to inaccurate place that Joaquim Cardozo occupies in Brazilian literary historiography, the appreciation of his work here will be limited to the range of possible individual expression, cut in three sonnets qualified by the same adjective: “positive”. With that, the positivity of textual qualification should be converted into speculation about the sense circumstantially built in that composition, which is tripartite and unfolds in the reflection on the vocabulary of the author, notably by the use of the adjective. Thus, the three sonnets will be considered as instruments of access to the style of the author through the lexicon used. The sonnet would be the upper room through which materializes a singular expressivity, more easily identifiable by the limits of fixed form, but that should signal something of his work as a whole, where rhythm, metric, the vocabulary and the phrasing of his verses gain other outlines, already suffering interference from the other conditions. Obviously the use of fixed form by Cardozo destabilizes the sense of own sonnet, creasing on his way in the tradition.

Abstract: In 1638 the Mexican Augustinian friar Miguel de Guevara wrote a miscellaneous volume entitled Arte doctrinal y modo general para aprender la lengua matlaltzinga. The work contains three poems signed by the autor, together with six anonymous ones that are often attributed to him. In this article the paternity of these six anonymous poems is discussed. The ten-line poem ¿Murió Dios? Sí. ¿Cierto? Cierto was published by Camargo y Salgado in Madrid in 1619; the octave El tiempo vuela como el pensamiento had appeared in a book of emblems of Juan de Horozco y Covarrubias in 1589; the sonnet Pídeme de mí mismo el tiempo cuenta was very well known in Spain and Portugal before 1638: not only does it figure in manuscripts, but it had been printed in Portuguese by Miguel Leitão de Andrade in 1629; finally, the famous sonnet No me mueve, mi Dios, para quererte is found in a book published by Antonio de Rojas in 1628. No previous traces of the other two poems have been found, but there are no stylistic reasons to attribute them to Miguel de Guevara.

Resumen: Con fecha de 1638 el agustino mexicano fray Miguel de Guevara escribió un volumen misceláneo titulado Arte doctrinal y modo general para aprender la lengua matlaltzinga. En él se encuentran tres poesías del autor y seis poesías anónimas, que se publican frecuentemente como de Miguel de Guevara. En este artículo se analiza la paternidad de estas seis poesías. La décima ¿Murió Dios? Sí. ¿Cierto? Cierto la había publicado Hernando de Camargo y Salgado en Madrid en 1619; la octava real El tiempo vuela como el pensamiento había aparecido en un libro de emblemas de Juan de Horozco y Covarrubias en 1589; el soneto Pídeme de mí mismo el tiempo cuenta era muy conocido en España y en Portugal antes de 1638, consta en manuscritos y lo había impreso en portugués Miguel Leitão de Andrade en 1629; por último, el célebre soneto No me mueve, mi Dios, para quererte se encuentra en un libro de Antonio de Rojas en 1628. Las otras dos poesías no se han localizado, pero no hay razones estilísticas para atribuírselas a fray Miguel de Guevara.

Al indagar en los inicios del siglo XX en Venezuela, se observa en el quehacer literario una puntual preocupación por el estilo y la mesura propias del clasicismo y del romanticismo antecesores. Así, la convocatoria a los íconos de la antigua Grecia, centró al parnasianismo en la elaboración rigurosa del soneto. El propósito de este estudio consiste en realizar un análisis descriptivo de las propiedades estéticas del poemario Las ánforas de mármol (Schmidke, 1890 - 1985), para comprender los aportes literarios promovidos por el autor y que, paradójicamente, corresponden con una tendencia literaria de escaso arraigo en el país.

When asked in the early twentieth century in Venezuela, it is observed in the literary work a point concern own style and restraint of classicism and romanticism predecessors. Thus the call to the icons of ancient Greece, the parnassianism focused on rigorous preparation of the sonnet. The purpose of this study is to conduct a descriptive analysis of the aesthetic properties of book of poems entitled Las ánforas de mármol (Schmidke, 1890-1985) as for understanding the literary contributions promoted by the author and that, paradoxically, correspond to a literary trend little roots in the country.