Rua Onze . Blog

Junho 10 2009

 

Armando Martins Janeira (1914-1988), The Epic and Tragic Sense of Life in Japanese Literature (1969).

 

A longa actividade diplomática de Martins Janeira, onde se inclui o desempenho de funções oficiais no Japão como embaixador, não o impediu de produzir diversas obras de carácter histórico e filosófico, embora tenha sido nos estudos literários que mais se distinguiu. Admirador confesso da obra de Wenceslau de Moraes (1854-1929), dedicou muito do seu tempo a investigar aspectos da bio-bibliografia deste autor e muitos dos seus textos à sua obra, tendo prefaciado e anotado as reedições da obra Moraes na  década de 1970 (cf. http://blogdaruanove.blogs.sapo.pt/search?q=martins+janeira&Submit=OK).

 

Na crítica literária, de que este livro é um dos exemplos significativos, a sua obra mais consagrada é, sem dúvida, Japanese and Western Literature, a Comparative Study (1970), que se transformou num clássico e numa obra de referência nos meios académicos internacionais, tendo também sida traduzida para japonês.


Muito embora Martins Janeira chegasse a anunciar a preparação das obras Essential Religious Though e Challenge of Civilizations, o seu último livro publicado em vida foi Japão, Construção de um País Moderno (1985).

 

De The Epic and Tragic Sense of Life in Japanese Literature transcrevem-se três parágrafos:

 

"HASEGAWA Nyozekan explains the scarcity of heroic myths in Japan by the fact that heroic gods tended to be relegated to second place and were looked at critically from a purely human standpoint; "the gods of the Japanese mythical age, all possessed human emotions." These gods, unlike the Greek gods, were not a high example for men; they did not contain that radiant force of exaltation that inspires the heroic deeds in which man superates his nature.

 

The lack of force in the concept of the Japanese gods and their incapacity to inspire epic chants can be explained, according to NAKAMURA Hajime by the fact that the Japanese did not form the idea of God with a human personality. "The imaginative power of the Japanese people," writes Prof. NAKAMURA, "ever since ancient times, has been limited to and has rarely gone beyond the concrete and intuitive world of nature." This poor imaginative power to shape elaborate fantasy "runs through Japanese literature to the present day." And this is why "Japanese people have never developed titanic myths." 8

 

Looking at this trait from the viewpoint of the European epic, it can help to explain why Catholic poets like Dante and Camoens felt the need of introducing pagan gods in their poems: they needed exceedingly powerful human figures capable of incarnating superhuman feelings of love, hate, courage, treachery, arrogance, scorn, all the gamut of good and evil of human heart, and this could not be expressed through the saint figures of the Church, who are one-sided examples of piety and kindness. When Dante invokes Apollo or the imposing presence of Jupiter, or when Vasco da Gama's navigators are helped by amorous Aphrodite, both Dante and Camoens are using symbols of human power and human passion, which, though superhuman in force, are too impure to justify the invocation of Christian saints. To this must be added, of course, the imposing weight of classic tradition.

 

8 NAKAMURA Hajime, Ways of Thinking of Eastern Peoples (East-West Center Press, Hawaii, 1964)" 

 

© Rua Onze . Blog

publicado por blogdaruanove às 19:52

Junho 10 2009

 

Fotografia produzida pela Fotografia Vasques, Largo da Abegoaria, 4, Lisboa.

Dimensões do cartão: (?) x (?) cm.

Início do século XX.

 

© Rua Onze . Blog

publicado por blogdaruanove às 16:41

Junho 10 2009

 

She may be the face I can't forget,
A trace of pleasure or regret,
May be my treasure or
The price I have to pay.

She may be the song that summer sings,
May be the chill that autumn brings,
May be a hundred different things
Within the measure of a day.

She may be the beauty or the beast,
May be the famine or the feast,
May turn each day into a
Heaven or a hell.

She may be the mirror of my dream,
A smile reflected in a stream,
She may not be what she may seem
Inside her shell.

She who always seems so happy in a crowd,
Whose eyes can be so private and so proud,
No one's allowed to see them
When they cry.

She may be the love that cannot hope to last,
May come to me from shadows of the past,
That I remember till the day I die.

She may be the reason I survive,
The why and wherefore I'm alive,
The one I'll care for through the
Rough and rainy years.

Me, I'll take her laughter and her tears
And make them all my souvenirs
For where she goes I've got to be.
The meaning of my life is she, she, she.
 

Letra de uma canção interpretada por Charles Aznavour (n. 1924; http://www.c-aznavour.com/)

 

© Rua Onze . Blog

publicado por blogdaruanove às 14:03

Junho 10 2009

 

Capa de Alberto de Sousa (1880-1961) para a edição do texto dramático A Severa (1901; presente edição, 4.ª, 1921) de Júlio Dantas (1876-1962).

 

A peça foi representada pela primeira vez no Teatro D. Amélia, em 25 de Janeiro de 1901, tendo Leitão de Barros (1896-1967) realizado o filme homónimo, com guião baseado neste texto, em 1931.

 

© Rua Onze . Blog


Junho 10 2009

 

© Rua Onze . Blog

publicado por blogdaruanove às 09:14

Aki ó-matsu Hito ó-mayowasu Momiji-kana!...
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