{"id":349,"date":"2016-03-30T17:51:55","date_gmt":"2016-03-30T17:51:55","guid":{"rendered":"http:\/\/library.brown.edu\/create\/brasiliana\/?page_id=349"},"modified":"2024-02-02T18:10:47","modified_gmt":"2024-02-02T18:10:47","slug":"portuguese-special-collections","status":"publish","type":"page","link":"https:\/\/library.brown.edu\/create\/brasiliana\/portuguese-special-collections\/","title":{"rendered":"Portugal – Brown Special Collections"},"content":{"rendered":"

Jos\u00e9 Rodrigues Migu\u00e9is Papers<\/a><\/strong>\"migueis\"
\nThe <\/a>Jos\u00e9 Rodrigues Migu\u00e9is Papers<\/a>\u00a0are housed at an off-campus climate-controlled storage facility\u00a0and can be consulted at the John Hay Library by appointment<\/a>. The collection holds the personal papers and selected volumes from the private library of the late Portuguese writer and includes drafts and typescripts of his writings, personal and professional correspondence, notebooks, postcards, diplomas, calendars, diaries, photographs, legal and medical documents, drawings, newspaper clippings, book reviews, and monographs.<\/p>\n

Migu\u00e9is’ correspondence includes letters to C\u00e2mara Reys, Raul Proen\u00e7a, Jaime Cortes\u00e3o, M\u00e1rio de Castro, Ant\u00f3nio S\u00e9rgio, Manuel Mendes, M\u00e1rio Dion\u00edsio, Manuel Rodrigues Lapa, David Mour\u00e3o-Ferreira, Jacinto Baptista, M\u00e1rio Neves, Jos\u00e9 Gomes Ferreira, Jos\u00e9 Cardoso Pires, Nat\u00e1lia Correira, Raul Hestnes Ferreira, Jorge de Sena, John Austin Kerr, Aquilino Ribeiro, and Jos\u00e9 Saramago among others.<\/p>\n

A finding aid<\/a> and a microfilm copy<\/a> of the collection are available to researchers.<\/p>\n

Hubert Dudley Jennings Papers\u00a0<\/strong><\/a>
\n\"jenningsdesk\"<\/a>Born in London in 1896, Hubert Jennings served in World War I and moved to South Africa after graduating from the University of Wales. In his newly\u00a0adopted land, Jennings became Assistant Headmaster\u00a0at Durban High School, where he remained employed for the next twelve years (1923-1935). Jennings was one of the first biographers of Portuguese writer Fernando Pessoa and one of the first scholars to be interested in Pessoa\u2019s English poetry. Jennings left an invaluable contribution to Pessoan studies with his biographical works on the poet\u2019s stay in South Africa \u2013 Fernando Pessoa in Durban<\/em> (1986) and Os Dois Ex\u00edlios: Fernando Pessoa na \u00c1frica do Sul<\/em> (1984).<\/p>\n

Through this gift,\u00a0accessible at the John Hay Library and the Brown Digital Repository, scholars will get a unique glimpse at Pessoa\u2019s life in South Africa following his father\u2019s death. Aside from his published works, Hubert Jennings also left a complete and unpublished book about Fernando Pessoa; plans and notes for other books on the noted writer; an inventory of Pessoa\u2019s estate; numerous transcriptions and translations of Pessoa\u2019s poetry and prose; original short stories taking place in Portugal; a considerable correspondence with writers and scholars from around the world interested in Pessoa\u2019s work; and photos and copies of documents regarding Pessoa\u2019s life, which complement the collection of artifacts housed at the National Library of Portugal and Casa Fernando Pessoa.<\/p>\n

A finding aid<\/strong> <\/a>of the collection\u00a0is available online to researchers. Issue 8 of the academic journal Pessoa Plural<\/em> was dedicated to Hubert Jennings. You may view it in PDF: Part\u00a01<\/a><\/strong> and Part\u00a02<\/a>.<\/strong> Pessoa Plural<\/em> is\u00a0published jointly by the Department of Portuguese and Brazilian Studies at Brown University, the Department of English and Comparative Literary Studies at Warwick University and the Department of Humanities and Literature of the University of the Andes.<\/p>\n

The entire Hubert Jennings collection is now freely accessible online<\/a> <\/strong>through the Brown Digital Repository.<\/p>\n

Portugal\u2019s Carnation Revolution Ephemera Collection<\/strong><\/a>
\n\"\"<\/a>The Carnation Revolution, also referred to as the \u201825th of April\u2019, was initially a military coup, later a popular movement in Portugal, beginning in April 1974 which overthrew the authoritarian regime of the Estado Novo.<\/p>\n

This collection includes over 1,000 leaflets, journals, broadsheets, magazines, books and ephemera relating to the Portuguese \u2018Carnation\u2019 Revolution of 1974-1975. The bulk of the publications are from 1973-1975 and nearly all of the material is in Portuguese. It\u00a0offers a wide range of materials for a diverse set of audiences. Items include rally invitations, memos on workers\u2019 strikes, seminal leftist texts in translation, Estado Novo propaganda, anti-imperialist leaflets, political platform brochures, and works on the communist regimes of China and Albania. Given the holistic nature of the collection, scholars will gain a sense of not only the kinds of materials being produced in Portugal during this time period, but also of the international materials and ideas that were circulating in the country during the Carnation Revolution and beyond.<\/p>\n

The materials, divided between five sub-collections: Anti-Imperialism<\/a>, Leftist Thought in Translation<\/a>, Politics & Government<\/a>, Popular Movements<\/a>, and Portugal-China-Albania<\/a>.<\/p>\n

Portuguese Journals<\/strong>
\n\"searanova\"<\/a>Seara Nova<\/a><\/em><\/strong>: a literary and political journal founded in Lisbon in 1921 by the Portuguese writer Raul Proen\u00e7a and a small group of intellectuals, then little known outside Portugal. The editorial board defined the publication as a journal of “doctrine and criticism” and was committed to provide compelling pieces from the best national contemporary literary writers and journalists. Following\u00a0the implementation of the\u00a0Ditadura Nacional<\/em>\u00a0and the consolidation of the\u00a0Estado Novo<\/em>, Seara Nova<\/em> became one of the primary national journals\u00a0to openly oppose and criticize the Ant\u00f3nio de Oliveira Salazar regime. Known early collaborators and editors include: Jaime Cortes\u00e3o, Ant\u00f3nio S\u00e9rgio, Raul Brand\u00e3o, Aquilino Ribeiro, C\u00e2mara Reis, and Augusto Casimiro. Brown owns a complete set of\u00a0the first series, 1921-1979.<\/p>\n

\"\"<\/a>Sol nascente: quinzen\u00e1rio de ci\u00eancia, arte, e cr\u00edtica<\/a><\/strong><\/em>: 30 January 1937-15 April 1940, 45 numbers bound together (complete run). Edited by Carlos F. Barroso, Lobat\u00e3o Vital and J. Soares Lopes. Initially the review included writers from different literary and political currents: “presencistas” such as Jos\u00e9 Regio, Jo\u00e3o Gaspar Sim\u00f5es, Adolfo Casais Monteiro, monarchists such as Castelo Branco Chaves, and “seareiros” such as Ant\u00f3nio S\u00e9rgio, Hern\u00e2ni Cidade and Irene Lisboa, but eventually neo-realist writers, such as Abel Salazar, M\u00e1rio Dion\u00edsio, Manuel da Fonseca, Jo\u00e3o Jos\u00e9 Cochofel, Fernando Namora, Joaquim Namorado, Alves Redol, \u00c1varo Cunhal, Ant\u00f3nio Ramos de Almeida, Joffre Amaral Nogueira, among others, gained the upper hand. In the 10th issue it was announced that Sol nascente<\/i> would henceforth “amar a luta”. This was further accentuated by a declaration in the 27th number, and even more in the 34th, the review’s second anniversary. By the third anniversary there was a pronounced affinity with the proposals of the Portuguese Communist Party. Shortly thereafter Sol nascente was suppressed by the censors of the Estado Novo. Foreign neo-realist manifestations were frequently publicized. Joaquim Namorado wrote a long article titled “Do neo-romantismo: o sentido heroico da vida na obra de Jorge Amado” (numbers 43-44, pp. 22-3). Other themes covered were education, literary creativity, opposition to the death penalty, and dialectical materialism (numbers 29 and following, 38, 40). Attention was paid to Galician literature, especially Castelao (numbers 14, 17, etc.). Garcia Lorca was one of the foreign writers most often mentioned (number 38, etc.). Sexuality, a theme almost completely absent from the Portuguese press, appeared in citations from Wilhelm Reich (number 39, etc.), and an appeal by \u00c1lvaro Cunhal, “E ser\u00e3o dois numa s\u00f3 carne” (number 39). Every issue save the first contains a reproduction of an important work of art on the front page. Artists included are Abel Salazar, Augusto Tavares, Casimiro de Carvalho, Cruz Caldas, Dom\u00ednguez Alvarez, D\u00f3rdio Gomes, Frederico George, George Grosz, Gon\u00e7alves Torres, Herculano de Figueiredo, Jo\u00e3o Barreira, Joaquim Lopes, Leopoldo de Almeida, Magalh\u00e3es Filho, Manuel Lima, Mendes da Silva, Nils af Strom, Simbach, Skogzila Wladyslaw and Ventura Porf\u00edrio. Many of the images depict social inequity. The final issue shows the iconic work “Caf\u00e9” by the Brazilian painter Candido Portinari, which had been exhibited at the Brazilian pavilion in the Exposi\u00e7\u00e3o do Mundo Portugu\u00eas, Bel\u00e9m, 1940, and resides permanently at the Museu Nacional de Belas Artes do Rio de Janeiro.<\/p>\n

Rei e Ordem<\/strong><\/em><\/a>:\u00a0896 issues bound in 6 volumes. A complete run. An important political newspaper, representing the views of a dissident wing of the Cartarista<\/em> party. It deals with political events, commerce, the coming and going of ships, railroad timetables, crime, theater, other spectacles, and forays into literature. Advertisements include significant theatrical and publishing information.\u00a0The most important and prolific literary contributor in the earlier issues was Raimundo Ant\u00f3nio de Bulh\u00e3o Pato (1829-1912).<\/p>\n

Correio Macaense\u00a0Semanario politico, litterario e de noticias<\/span><\/strong><\/a><\/em>:\u00a052 numbers in 1 volume. Macau: Typographia do “Correio Macaense”, 1883-1884. First and only edition\u00a0<\/span>of this weekly newspaper, published in Macau. The present substantial run consists of the first year, from number 1, Sunday, 2 September 1883, through number 53, dated 31 August 1884. Each issue contains 4 pages, printed in 3 columns. A. da Silva Telles was the editor and publisher. Much of the content consists of current events and correspondence.<\/span><\/p>\n

Guarda Avan\u00e7ada<\/strong><\/em><\/a>: numbers 1-86 (6 February 1835 to 29 May 1835) + 2 (said to be of 6) supplements.\u00a0<\/span>Published by Joaquim Theodoro de Castro, for the most part six days per week, Monday through Saturday. Almost all issues contain 4 pages, in 3 columns. The newspaper contains extensive reporting of parliamentary debates and the politics of the day. Some reporting of international and provincial Portuguese news is also included; movements of ships in and out of the port of Lisbon are noted. There are some significant reports on the theater, as well as brief notes about crime, exchange rates and fashion.<\/span><\/p>\n

O Paiz: <\/i><\/strong>jornal do Partido Progressista<\/strong>: <\/i>not complete but a<\/span>\u00a0significant run, consisting of the first year (of four) and most of January of the second year of this important organ of the Partido Progressista, one of the two rotating Portuguese political parties under the monarchy from 1873 to the establishment of the republic in 1910. The volume begins with number 1, issued 1 January 1873, and ends with number 318, issued 28 January 1874. It lacks numbers 5, 212, 222, and 224; possibly also lacking numbers 190 and 313, which may never have been issued.\u00a0<\/span>The Partido Progressista was a center-left coalition, favoring liberal ideas such as increased suffrage and secularism. It is said by both the Grande enciclop\u00e9dia <\/i>and Dicion\u00e1rio de historia de Portugal<\/i> that the party was founded on 7 September 1876 by the “Pacto de Granja”, which united the Partido Hist\u00f3rico with the Partido Constitucional. The fact of this newspaper began 1 January 1873 proves the party’s earlier de facto existence even if the formal union of the parties opposing the more conservative Partido Regenerador was only ratified later.\u00a0<\/span>Content is mostly domestic and foreign news, politics, and commerce. Arrivals and departures of ships are noted. The majority of issues contain a literary section, occupying from a fifth to a third of the lower portion of the front page, sometimes continuing on to the following page. Included are serialized translations of fictional works.<\/span><\/p>\n

Almanaque<\/strong><\/em><\/a>: Lisboa. Almanac. 1959-1961.<\/p>\n

\u00c1rvore: Folhas de poesia<\/strong><\/em><\/a>:\"\"<\/a> Lisboa: Oficinas Gr\u00e1ficas de Ramos, Afonso & Moita, Lda. (first three numbers) and Tipografia Ideal (final number), 1951-[1953?]. <\/span> Poetry.\u00a04 issues, a complete run. A facsimile edition was published by Campo de Letras, Porto, 2003. The four numbers are dated Outono de 1951, Inverno de 1951\/52, Primavera e Ver\u00e3o de 1953, while the final number bears no indication whatsoever of the date of publication, though presumably it appeared in 1953. The literary editors were Ant\u00f3nio Lu\u00eds Moita, Ant\u00f3nio Ramos Rosa, Jos\u00e9 Terra, Lu\u00eds Amaro, and Raul de Carvalho. For the final number Egito Gon\u00e7alves joined the editorial board in substitution for Ant\u00f3nio Lu\u00eds Moita. The graphic editor was Lu\u00eds Moita for the first three numbers, and Fernando Lanhas for the final number. Albano Martins and Ant\u00f3nio Ramos Rosa concurred that the aim of the review was to create a space for Portuguese poetry against the existing currents of neo-realism, surrealism, and traditionalism. It should be noted that authors of these persuasions are nevertheless included, especially surrealists. The first issue contains essays \u201cEsfinge ou a Poesia\u201d by Eduardo Louren\u00e7o, \u201cSobre os Partidarismos em Poesias\u201d by \u00c1lvaro Selema, and \u201cOs Perigos da Poesia e a \u2018Pedra Filosofal\u2019 de Jorge de Sena,\u201d by Vasco Miranda. There are poems by Ant\u00f3nio Ramos Rosa, Ant\u00f3nio Vera, Crist\u00f3vam Pavia, Jos\u00e9 Terra, Fernando Vieira, Raul de Carvalho, Sebasti\u00e3o da Gama, Alberto de Lacerda, Ant\u00f3nio Lu\u00eds Moita, Egito Gon\u00e7alves, Lu\u00eds Amaro and \u201cP\u00e1ginas de Di\u00e1rio\u201d by Matilde Rosa Ara\u00fajo, as well as an interview with Adolfo Casais Monteiro. In a section on foreign poets, Jorge de Sena translates poems by Stephen Spender, providing an introductory essay, while Ant\u00f3nio Ramos Rosa translates poems by Ren\u00e9 Char, with an introductory essay. A piece of very short fiction by Maria Guilhermina is followed by a note on the author by Matilde Rosa Ara\u00fajo. Books of poetry by Armindo Rodrigues, Fernanda Botelho, Jos\u00e9 Fernandes Fafe, Eug\u00e9nio de Andrade, M\u00e1rio Cesariny de Vasconcelos, Sofia de Mello Breyner Andresen, Alberto de Lacerda and others are reviewed by Ant\u00f3nio Ramos Rosa, David Mour\u00e3o-Ferreira, and Jos\u00e9 Terra. A plate was designed by Lima de Freitas. The second issue contains a previously unpublished poem by Sebasti\u00e3o de Gama, followed by an essay on the recently deceased poet by Luiz Amaro de Oliveira, and poems in his honor by Ant\u00f3nio Lu\u00eds Moita, Albano Martins, Jos\u00e9 Terra, and Ant\u00f3nio Ramos Rosa. There are further poems by Manuel da Fonseca, Sophia de Mello Breyner Andresen, Albano Martins, Raul de Carvalho, Rog\u00e9rio Fernandes, M\u00e1rio Cesariny de Vasconcelos, Lu\u00eds Amaro (dedicated to Teixeira de Pascoaes), Ant\u00f3nio Carlos, V\u00edtor Matos e S\u00e1, Ilse Losa, Ant\u00f3nio Lu\u00eds Moita, Jos\u00e9 Ferreira Monte, Carlos Eurico da Costa, Jos\u00e9 Terra, Marta Cristina de Ara\u00fajo, Manuel Dias da Fonseca (in imitation of Pablo Neruda), Adriano Louren\u00e7o de Faria, and Ant\u00f3nio Ramos Rosa. The section on foreign poets contains translations of Rainer Maria Rilke by Paulo Quintela, and Carmen Conde by Eduardo Moreiras (who provides prose information about Conde). There are essays \u201cSob o Signo da Poesia\u201d by Verg\u00edlio Ferreira, \u201cPoesia e Estilo\u201d by \u00c1lvaro Salema, and \u201cPoesia e Cinema: Leve Introdu\u00e7\u00e3o ao \u2018Orfeu\u2019 de Jean Cocteau\u201d by Jos\u00e9-Augusto Fran\u00e7a. A section on new poets of Brazil contains two poems by L\u00eado Ivo, preceded by an essay about the poet by Alfredo Margarido. Books of poetry by Marta Cristina de Ara\u00fajo, Ruy Cinatti, Egito Gon\u00e7alves, Antunes da Silva, Ilse Losa, Jacinto Soares de Albergaria, Alexandre O\u2019Neill, Armando Alves Martins, and V. Costa Marques are reviewed by Ant\u00f3nio Ramos Rosa, Jorge de Sena, Ant\u00f3nio Carlos, Jos\u00e9 Terra, and Lu\u00eds Amaro. The two plates contain a portrait of Sebasti\u00e3o da Gama by Bonif\u00e1cio L\u00e1zaro, and a reproduction of a photograph of Rainer Maria Rilke. The third issue contains poems by Paul \u00c9luard, Cabral do Nascimento, Maria da Saudade Cortes\u00e3o, Eug\u00e9nio de Andrade, Nat\u00e9rcia Freire, M\u00e1rio Sacramento, David Mour\u00e3o-Ferreira, Maria da Encarna\u00e7\u00e3o Baptista, and Egito Gon\u00e7alves. Foreign poets Ren\u00e9 Char and Vicente Aleixandre appear in the original French and Spanish, while Rainer Maria Rilke is translated by Paulo Quintela, Marcel Thiry by Andr\u00e9e Crabb\u00e9 Rocha (with a note), Paul \u00c9luard and Henri Michauz by Ant\u00f3nio Ramos Rosa, who also provides an essay \u201cO sim de \u00c9luard e o n\u00e3o de Michaux\u201d. There is also an essay \u201cPoesia, Pintura, e Realidade\u201d by Fernando Guimar\u00e3es. Books of poetry by Carlos Eurico da Costa, Nat\u00e9rcia special list 274 1 3 Freire, Jorge de Sena, Ern\u00e2ni Melo Viana, Jos\u00e9 Manuel and Fausto Jos\u00e9 are reviewed by Ant\u00f3nio Ramos Rosa, Armando Ventura Ferreira, Humberto d\u2019Avila, Egito Gon\u00e7alves and Rog\u00e9rio Fernandes. The plate was designed by Dourado. The fourth and final issue begins with an essay by Ant\u00f3nio Ramos Rosa, \u201cA Poesia \u00e9 um Di\u00e1logo com o Universo\u201d (it is dedicated to Jo\u00e3o Rui de Sousa and Jos\u00e9 Gago Sequeira). There are poems by Egito Gon\u00e7alves, Jos\u00e9 Bento, Alberto de Lacerda, Albano Martins, Palmira de F\u00e1tima, M\u00e1rio Cesariny de Vasconcelos, Ern\u00e2ni de Melo Viana, Jos\u00e9 Prud\u00eancio, Cristovam Pavia, Lu\u00eds Amaro, Ant\u00f3nio Ramos Rosa \u201cTelegrama sem Classifica\u00e7\u00e3o Especial\u201d (dedicated to Egito Gon\u00e7alves), Raul de Carvalho, Jos\u00e9 Terra, Jorge de Lima, Federico Garcia Lorca (in the original Spanish, followed by a \u201cNota Breve sobre dois poemas in\u00e9ditos de Federico Garc\u00eda Lorca\u201d by Eug\u00e9nio de Andrade), Henri Michaux (in the original French, previously unpublished), and Dora Isella Russell (in the original Spanish, previously unpublished). There is also a significant selection from W.H. Auden, translated and with an introduction by Jorge de Sena. Books of poetry by M\u00e1rio Cesariny de Vasconcelos, Milto de Lima Sousa, Cyro Pimentel, Vasco Miranda, Miguel Torga, Jos\u00e9 Lu\u00eds de Abreu Lima, Ant\u00f3nio Quadros, and V\u00edtor Matos e S\u00e1 are reviewed by Ant\u00f3nio Ramos Rosa, V\u00edtor Matos e S\u00e1, Rog\u00e9rio Fernandes, Alfredo Margarido, and Armando Ventura Ferreira. Lu\u00eds Amaro provides a brief notice of Teixeira de Pascoaes, and Ant\u00f3nio Ramos Rosa a somewhat longer essay on the death of Paul Eluard. Including the anti-regime writer Garc\u00eda Lorca, the poems of the recently deceased communist author Paul Eluard, allusions to the work of Rafael Alberti and Pablo Neruda marked this final number for the decisive intervention of the authorities on 17 April 1953. The PIDE are said to have consigned all copies of this issue they could lay hands on to the fire, according to Jo\u00e3o Gaspar Sim\u00f5es.<\/span><\/p>\n

Atl\u00e2ntida. Mens\u00e1rio art\u00edstico liter\u00e1rio e social para Portugal e Brasil<\/strong><\/em><\/a>. Anos I-V, Nos. 1-48, a complete run. 48 issues in 12 volumes. Lisbon: n.pr., 1915-1920. \u00a048 numbers in 42, with double issues for nos. 29-30, 33-34, 35-36, 42-43, 44-45, and 46-47. Atl\u00e2ntida aimed to disseminate new intellectual and social ideas; its editors were Jo\u00e3o do Rio in Brazil and Jo\u00e3o de Barros in Portugal. It includes fiction, poetry, essays, reproductions of numerous works of painting and sculpture, and many photographs. Atl\u00e2ntida gave special attention to the First World War, with pieces by Guerra Junqueiro, Jaime Cortes\u00e3o, Te\u00f3filo Braga, and others. Among the other contributors were Aquilino Ribeiro, Raul Proen\u00e7a, Afonso Duarte, Afonso Lopes Vieira, Alberto Os\u00f3rio de Castro, Almada Negreiros, Augusto Gil, Camilo Pessanha, C\u00e2ndido Figueiredo, Columbano Bordalo Pinheiro, Eug\u00e9nio de Castro, Hip\u00f3lito Raposo, J\u00falio Brand\u00e3o, J\u00falio Dantas and Teixeira de Pascoaes. The series is heavily illustrated, with 67 plates, a few of them in color; a few volumes also have color reproductions on the front wrapper. Subjects include portraits of prominent literary or political figures, sculptures (by Pinto de Couto, Soares dos Reis, Costa Motta, and Bernardelli, among others), and paintings (by Columbano, Antonio Soares, Sargent, Antonio Carneiro, Sousa Pinto, Alberto de Souza, and Jorge Barradas, among others). Black-and-white decorative woodcuts appear frequently within the text, and later issues have photographic reproductions within the text as well. Each volume has 2-3 leaves of advertisements at the end.<\/span><\/p>\n

O Baratissimo, ou O pequeno civilisador popular, semanario de conhecimentos usuaes, e de litteratura para as classes laboriosas<\/strong><\/em><\/a>. Nos. 1-42, July 31, 1848\u2014May 14, 1849, a complete run. 42 issues in 1 volume. (Lisbon): n.pr., 1848-1849. This periodical was ostensibly directed to Portugal\u2019s working classes, but actually a mouthpiece for the liberal views of its unnamed editor, Jo\u00e3o Luis Lopes. Much of the editorial content is written in the form of letters exchanged among a fictional Porto family with impeccable liberal credentials, who had lived for many years (as did Lopes) among the Portuguese \u00e9migr\u00e9 community in Paris. O Baratissimo<\/em> includes poetry, a serialized novel entitled A familia do Arraes d\u2019Ovar, and long, serialized discussions on such topics as freedom of thought and speech, public education, public works, and advances in civil and hydraulic engineering. There are, for instance, discussions on ways of providing Lisbon with water and the tunnel recently bored under the Thames. Virtually all of the contributions are unsigned, or signed with apparent pseudonyms; e.g., much of the poetry is signed \u201cJos\u00e9 Ozorio,\u201d whose true identity we have been unable to establish. Other poems, however, are signed by the Portuguese poet and journalist Francisco Luis Lopes (b. 1816). Jo\u00e3o Luis Lopes (d. 1864) entered the military in 1824, only to be expelled five years later from the Academia de Fortifica\u00e7\u00e3o for his liberal views. Rehabilitated in 1833, he rose to the rank of captain in the engineering corps, serving for a time as director of public works at Ponta Delgada (Azores) before being dismissed in 1847. He edited O Baratissimo<\/em> while appealing his dismissal, which he successfully reversed in 1849; issue n\u00ba 40 (314-20) contains a long, signed defense of his conduct. At the end of the final issue he announces that the periodical will have to cease publication because the subscribers have been sending \u201crarissimas, e diminutas quantias\u201d of the money they had promised.<\/span><\/p>\n

Conimbriga:\u00a0Revista mensal de arte, letras, sci\u00eancias e critica<\/strong><\/em><\/a>. Coimbra. Art, humanities and sciences.1923.<\/p>\n

Continente<\/a><\/em><\/strong>:\u00a0<\/strong>Porto. Poetry. 1927.<\/p>\n

Cronos.\u00a0Cadernos de Literatura.<\/em><\/strong> <\/a>Lisboa.\u00a0Nos. 1-4 and 2\u00ba s\u00e9rie, n\u00ba 1, a complete run. 5 issues. Lisbon: Editorial Minerva, (1965-1970). <\/span>The high points in this multifaceted literary review include, in the first issue, an essay by Jo\u00e3o Gaspar Sim\u00f5es on Orpheu and one by Herberto Helder on Brecht. In the second issue appears a previously unpublished poem by Jos\u00e9 R\u00e9gio, an exposition on concrete poetry by E.M. de Melo e Castro, \u201cA imagem po\u00e9tica e a poesia actual\u201d (pp. 11-9), and three poems by Jos\u00e9 Saramago. (Saramago\u2019s earliest published work listed in NUC and BLC is Poemas possiveis, Lisbon [1966]; his next two published works listed in NUC appeared in 1970 and 1971.) In the third issue are Jacinto do Prado Coelho\u2019s \u201cO problema da sinceridade nos textos em prosa de Fernando Pessoa\u201d and an essay by Fernando Luso Soares on Camus and Sartre. The fourth issue includes an essay by M\u00e1rio Sacramento on Ant\u00f3nio S\u00e9rgio, Y.K. Centeno on Gotthold Ephraim Lessing\u2019s Emilia Galoti, and Afonso Cautela on the historical position of Surrealism. The final issue is devoted to the theater, with a brief theatrical piece by M\u00e1rio Cesariny titled \u201cO processo\u201d (pp. 25-30), critiques of works by G\u00fcnter 3 0 richard c. ramer Grass, Samuel Beckett and E\u00e7a de Queiroz, and essays on various aspects of contemporary drama. Other contributors of note include David Mour\u00e3o-Ferreira, Virgilio Ferreira, Nat\u00e1lia Correia, Urbano Tavares Rodrigues, Ant\u00f3nio Pedro, Maria Judite de Carvalho, Alexandre O\u2019Neill, Ant\u00f3nio Ramos Rosa, Jo\u00e3o Medina, Fiama Hasse Pais Brand\u00e3o, Tomaz Kim, and Alexandre Babo. Cronos was directed by Fernando Luso Soares, M\u00e1rio Dias Ramos, Eduardo Prado Coelho and Mendes de Carvalho.<\/span><\/p>\n

De teatro:\u00a0Revista de teatro e m\u00fasica<\/strong><\/em><\/a>: Lisboa. Theater and music. 1922-1927.<\/p>\n

Descobrimento: Revista de cultura<\/strong><\/em><\/a>: Lisboa. Culture. 1931-1932.<\/p>\n

Os Gafanhotos: revista mensal<\/a><\/em><\/strong>: Porto. Satire. March to September\/October 1868, 7 issues (complete run). The journal contains direct references to Camilo Castelo Branco as well as Ant\u00f3nio Feliciano de Castilho, Jos\u00e9 Vieira de Castro, Ant\u00f3nio Vieira de Castro, Julio Dinis, and Victor Hugo. A running theme is coverage of the Paraguayan War. It begins with a satiric poem at the end of the second issue, on p. 64, “Post\u2013Scriptum” which reveals its editorial bias with the penultimate line, “Treme, barbaro Lopes!” There is more on this theme, this time in prose, at the beginning of the third issue, on pp. [65]\u201367. In the same issue, on pp. 88\u20139, is a piece titled “A Armada Brazileira e a Planta Impura dos Paraguayos” which begins “Como s\u00e3o bravos os brazileiros!” At the end of this issue, on p. 96, is a short piece titled “Um Paraguayo Disfar\u00e7ado”. In the fourth issue, on pp. 107\u20138 is an article titled “Enthusiasmos Patrioticos d’um Brazileiro”, followed immediately on the bottom of p. 108 by “Educa\u00e7\u00e3o Guerreira no Brazil”. On pp. 125\u20136 of the same issue is an article which begins “De como os Soldados Paraguayos Eram de Couro”. At the beginning of the fifth issue, on pp. [129]\u2013135 is a poem titled “A Marrada: Fragmentos d’um poema sem nome dedicado aos intrepidos vencedores do Currupaity\u2026 em gripho”. Another poem on the Paraguayan War, “Quichotada”, appears on pp. 143\u20135 of the same issue, while on pp. 147\u20138 of this issue appears an article titled “De Como os Brazileiros iam Filando o Lopes”. A brief poem titled “Pennada: a proposito da guerra” appears on p. 155 of this issue. At the beginning of the sixth issue, on pp. [161]\u2013165, is a stridently pro\u2013Brazilian “Carta aos Illustres Membros da Colonia Brazileira Residentes n’esta Cidade”. On pp. 167\u20138 of this issue is a poem “Pennadas” which is continued on p. 183, with a third part on p. 191. On pp. 188\u201390 is an article titled “Novos Commettimentos: Prodigios da Metralha Brazileira”. The seventh and final issue begins, on pp. [193]\u2013200 with a “Segunda Carta aos Illustres Membros da Colonia Brazileira Residentes n’esta Cidade”. The editor (1845\u20131880), a native of Porto, was a journalist involved in politics on the side of liberal democracy. With Borges de Avellar, Agostinho Albano and Guilherme Braga he founded the Diario da tarde; later, in 1874, he founded its successor, Lucta<\/i>, of which he was the principal editor. He was involved with a number of other satirical, polemical and partisan publications.<\/p>\n

Graal. Poesia, teatro, fic\u00e7\u00e3o, ensaio, cr\u00edtica.<\/strong> <\/em><\/a>\u00a0Lisbon: Empresa Nacional de Publicidade, 1956-1957. Numbers 1-4, a complete run. Directed by Ant\u00f3nio Manuel Couto Viana, edited by Alberto Ramires dos Reis, artistic direction by Ant\u00f3nio Vaz Pereira. This review is a continuation of T\u00e1vola redonda. It includes works by David Mour\u00e3o-Ferreira, Jacinto do Prado Coelho, Ruy Cinatti, Agustina Bessa Lu\u00eds, Urbano Tavares Rodrigues, D\u00e9cio Pignatari, Fernando Guedes, Herberto Helder, Manuel Antunes, Maria de Lourdes Belchior, Ant\u00f3nio Coimbra Martins, Edu\u00edno de Jesus, Fernanda Botelho, Fernando Echevarria, Jos\u00e9 Blanc de Portugal, Nat\u00e9rcia Freire, Tom\u00e1s Kim, and others. <\/span><\/p>\n

A Grinalda: Periodico de poesias in\u00e9ditas<\/em><\/strong><\/a>: Porto: Na Typographia de Sebasti\u00e3o Jos\u00e9 Pereira, 1855- 1869. \u00a06 issues. The editors for the first two volumes were Jo\u00e3o Marques Nogueira Lima (b. 1829) and Jo\u00e3o Martins Barbosa Carneiro 4 6 richard c. ramer (1833-1857), both natives of Porto. Barbosa Carneiro died following publication of the second volume, and for the remaining volumes Nogueira Lima was the sole editor and publisher. He was also a major contributor, with a total of 64 poems; Carneiro contributed 14 poems to the first two volumes. Posthumously 3 of his poems appeared in the third volume, and 1 each in the final three volumes. Each \u201cyear\u201d or volume consists of 12 consecutively paged numbers. Among the most important writers whose poems are included are Jos\u00e9 Duarte Ramalho Ortig\u00e3o (2), Camilo Castelo Branco (2), Francisco Joaquim Bingre (10), J\u00falio Diniz (8), Anthero de Quental, Alexandre Herculano, Francisco Marques de Souza Viterbo (3), Ab\u00edlio Guerra Junqueiro (2), Alberto Pimentel, Jo\u00e3o de Deus, and Theophilo Braga. j\u00a0Rafael and Santos, eds., Jornais e revistas portugueses do s\u00e9culo XIX, 2612. Innoc\u00eancio III, 414-6. See also Historia da poesia moderna em Portugal. Carta a J. M. Nogueira Lima sobre a Grinalda por Theophilo Braga, Porto 1869.<\/span><\/p>\n

H\u00famus: Mens\u00e1rio de arte<\/a><\/strong><\/em>: 1921-1922.<\/p>\n

Icaro. Revista de Coimbra.<\/strong><\/em><\/a> Three issues (July 1919, October 1919, January 1920): a complete run. Coimbra: , 1919-1920. Contributors include Afonso Lopes Vieira, Ant\u00f3nio de Portucale, Cabral do Nascimento, Eug\u00e9nio de Castro, Jo\u00e3o Ameal, and Teixeira de Pascoais. Icaro also contains a previously unpublished letter by Camilo Castelo Branco. This literary review was founded by Cabral do Nascimento, Vieira de Castro, Alfredo Brochado and Cortez Pinto, directed by Ernesto Gon\u00e7alves, and edited by Lu\u00eds de Vasconcelos.<\/span><\/p>\n

Ideia livre: Mens\u00e1rio de ideias, factos e coment\u00e1rios<\/strong><\/em><\/a>: Porto. Humanities. 1911-1916.<\/p>\n

L\u00edmia: Revista mensal ilustrada de letras, ciencias e artes<\/strong><\/em><\/a>: Viana-do-Castelo. Arts and humanities. 1910-1911.<\/p>\n

Lusitania: Revista de estudos portugueses<\/strong><\/em><\/a>: Lisboa. History. 1924-1925.<\/p>\n

Mundo liter\u00e1rio: seman\u00e1rio de critica e informa\u00e7\u00e3o liter\u00e1ria, cient\u00edfica e artistica.<\/strong> <\/em><\/a>Nos. 1-53, a complete run. \u00a0Lisbon: Editorial Conflu\u00eancia, Lda., 1946-1948. 16 pp. per issue, illustrated. Jaime Cortes\u00e3o Casimiro, ed., and Lu\u00eds de Sousa Rebelo, publisher. Editorial board: Adolfo Casais Monteiro, Emil Andersen, and Jaime Cortes\u00e3o Casimiro. \u00a0In its choice of collaborators, this weekly magazine favored those not associated with the Estado Novo, the majority of whom had ties to MUD and were opposed to the Salazar government. There were, as would be expected, problems with the official censorship. In issue number 6, the censors obliged the magazine to publish a \u201cDeclara\u00e7\u00e3o\u201d regarding two articles critical of the status quo by Ant\u00f3no Ramos de Almeida, which had appeared in issue number 4. In the 52nd issue, May 1947, the suspension of the review was announced. After almost a year, the 53rd issue appeared, perhaps symbolically, on May 1, 1948, with the aid of Editorial Cosmos, directed by Manuel Rodrigues de Oliveira. Emil Anderson left the editorial board after issue number 30. Adolfo Casais Monteiro, who had been something of the de-facto editor, and whose name on the masthead irritated the authorities, withdrew from the editorial board for the final issue, but continued as a contributor. Despite this, there were then orders to suspend publication, and appeals were to no avail. Mundo liter\u00e1rio was not doctrinaire, and was without commitment to any particular literary movement. In its pages were debated the aesthetics of neo-realism and the second wave of modernism of Presen\u00e7a. It attempted to expose Portuguese readers to the work of Kafka (hitherto totally unknown), Jean-Paul Sartre, Henri Michaux, Jos\u00e9 Rodrigues Migu\u00e9is, Aleixo Ribeiro, Graciliano Ramos, Jos\u00e9 Lins do Rego, Soeiro Pereira Gomes, Alves Redol, Manuel da Fonseca, and Carlos de Oliveira. In Portugal at the time, 7 4 richard c. ramer it also was unusual for introducing American authors such as Hemingway, John dos Passos, and Langston Hughes, which engendered suspicion on the part of the censors. An article by Upton Sinclair on Mark Twain appeared in issues 27 and 28. Lusophone African authors were also recognized. Number 46 was partly dedicated to the centenary of Castro Alves. There was an important polemical sequence of literary criticism between Jos\u00e9 R\u00e9gio and Joel Serr\u00e3o, and another between Serr\u00e3o and Jo\u00e3o Gaspar Sim\u00f5es. After the 27th issue, literary criticism was assumed by Adolfo Casais Monteiro, Ant\u00f3nio Pedro, Ant\u00f3nio Ramos de Almeida, Ant\u00f3nio Salgado J\u00fanior, Armando Ventura Ferreira, Joel Serr\u00e3o, Jorge de Sena and M\u00e1rio Sacramento. Musical criticism was by Francine Benoit, Humberto d\u2019Avila, and Jos\u00e9 Blanc de Portugal. Film critics were Aldolfo Casais Monteiro, Manuel de Azevedo, and Rui Gr\u00e1cio. Theater critics were Ant\u00f3nio Pedro, Luiz Francisco Rebello, and Manuela Porto. New currents in the fine arts, as exemplified by Picasso and Portinari, were examined. The review published illustrations critical of the bourgeoisie by Bernardo Marques (issue 4), George Grosz (issue 25), Talitsky on the Holcaust and Nazi concentration camps (issue 24), and a self portrait by D\u00f3rdio Gomes (issue 6). There were also artistic contributions by J\u00falio (issue 31) and J\u00falio Pomar (issue 35). Beginning with the 5th issue, Ant\u00f3nio Pedro wrote a series titled \u201cHist\u00f3ria Breve da Pintura\u201d. The final issue denounced the non-existence of a Museum of Modern Art in Portugal. Other important texts which appeared in the pages of this review are too numerous to mention here in their entirety. Among the most noteworthy are Adolfo Casais Monteiro, \u201cA Cr\u00edtica, a Hist\u00f3ria e o Homem\u201d (issue 1), \u201cValores Humanos e Valores Est\u00e9ticos\u201d (issue 6), \u201cGuernica\u201d (issue 10); 2 poems by Alexandre O\u2019Neill, \u201cA Bilha\u201d and \u201cAc\u00f3rde\u00e3o\u201d (issue 31); Ant\u00f3nio Jos\u00e9 Saraiva, \u201cO P\u00e1ssaro Azul\u201d (criticism of Jo\u00e3o Gaspar Sim\u00f5es, issue 53); Ant\u00f3nio S\u00e9rgio, \u201cA prop\u00f3sito de uma Discuss\u00e3o entre Antero de Quental e Oliveira Martins\u201d (issue 37); Augusto Abeleira, \u201cSinceridade e Falta de Convic\u00e7\u00f5es na Obra de Fernando Pessoa\u201d (issue 51); Jorge de Sena\u2019s presentation of a semi-unpublished poem by Ces\u00e1rio Verde, \u201cLoira\u201d (issue 29); Diogo de Macedo, \u201cPous\u00e3o e Colombano\u201d (issue 3); 2 poems by Eug\u00e9nio de Andrade (issue 31), and 2 more poems by the same author (issue 53); and Gilberto Freyre, \u201cJorge de Lima e o Movimento do Nordeste\u201d (issue 2). There were also texts by Branquinho da Fonseca (issues 16, 17, and 30), Cabral do Nascimento (issues 27 and 40), Fernando Namora (issue 19), Fernando Pessoa (issue 24), Francisco Jos\u00e9 Tenreiro (issue 36), Jacinto do Prado Coelho (issue 52), Romulo de Carvalho (issues 33 and 49) and M\u00e1rio de Andrade (issues 13 and 18), as well as 3 poems by Carlos Drummond de Andrade, and others by Pedro de Silveira, Tom\u00e1s Kim, and Vinicius de Moraes.<\/span><\/p>\n

Nova phenix renascida.<\/strong> <\/em><\/a>N.\u00ba 1, all published. Coimbra: Tip. F. Fran\u00e7a Amado, Successor, Julho de 1921. According to Fernando Guimar\u00e3es, this review, along with others such as \u00cdcaro, A Tradi\u00e7\u00e3o, A Nossa Revista, Bysancio, Con\u00edmbriga, Tr\u00edptico, and Labareda, mix tendencies which were still strong in special list 274 7 7 the 1920s, among them Decadence, Symbolism, Literary Nationalism, and Saudosismo. These were to unite with the Modernism of the generation of Orpheu, preparing the way for the appearance of Presen\u00e7a. Nova phenix was edited by Lu\u00eds Vieira de Castro and published by Lu\u00eds de Sousa e Vasconcelos. In an initial essay Manuel de Meneses (pp. 1-4) disparages authors such as J\u00falio Dantas, Antero de Figueiredo, Carlos Malheiro Dias, Ant\u00f3nio Patr\u00edcio, Sousa Pinto and Augusto de Castro, among others. In the same essay, Meneses affirms that the review proposes to analyze the state of Portuguese literature and contribute to its rehabilitation, stating that the review is not the organ of any coterie, and does not present any particular program. Four sonnets by Jo\u00e3o Cabral do Nascimento (pp. 5-8) are followed by an article on Russian ballet by Ernesto Gon\u00e7alves (pp. 9-16). There are two previously unpublished letters by Camilo Castelo Branco to Jos\u00e9 Cardoso Vieira de Castro (pp. 17-9), and Lu\u00eds Vieira de Castro contributes a piece of short fiction titled \u201cEspiritual\u201d (pp. 20-5), as well as an essay \u201cIdeias & factos, cronica: a melhor obra de Camillo\u201d (pp. 29-31). \u00c1lvaro Manso de Souza provides three sonnets with the collective title \u201cPoemas Orientais\u201d (pp. 26-8). Finally, Manuel de Meneses contributes a brief resum\u00e9 of the recent \u201cVida Liter\u00e1ria e Art\u00edstica\u201d (pp. 31-2), which includes favorable mention of Eug\u00e9nio de Castro, Fialho de Almeida, and Aquilino Ribeiro, as well as the painter Eduardo Viana. Ruy Coelho\u2019s opera Auto do Ber\u00e7o, performed at the Teatro S\u00e3o Carlos in Lisbon, was judged unsuccessful, though the composer\u2019s talent was considered admirable.<\/span><\/p>\n

Observador: Revista semanal de informa\u00e7\u00e3o<\/strong><\/em><\/a>. Lisboa. Current events. 1971-1973.<\/p>\n

Pent\u00e1gono<\/strong><\/em><\/a>: Coimbra. Literature. 1956.<\/p>\n

Persona:\u00a0Publica\u00e7\u00e3o do Centro de Estudos Pessoanos<\/strong><\/em><\/a>: Porto. Literature. 1977-1988.<\/p>\n

Poemas livres<\/strong><\/em><\/a>: Coibra. Poetry. 1962-1968.<\/p>\n

Portugalia:\u00a0Materiaes para o estado do povo portuguez<\/strong><\/em><\/a>. First series. Porto. Ethnology and archeology. 1899.<\/p>\n

Presen\u00e7a: f\u00f4lha de arte e cr\u00edtica<\/strong><\/em><\/a>. Coimbra: Edi\u00e7\u00f5es Presen\u00e7a. Suspended Dec. 1938-Oct. 1939. \u00a0Has brief poems by Fernando Pessoa, M\u00e1rio S\u00e1 Carneiro (said to be previously unpublished), and M\u00e1rio Saa, as well as essays by Jo\u00e3o Gaspar Sim\u00f5es, Adolfo Casais Monteiro, and Jos\u00e9 R\u00e9gio. The cover illustration, a line drawing by Almada Negreiros, shows a woeful-looking Hope wearing a sailor\u2019s uniform and holding an anchor. Presenca<\/em> was published in Coimbra from March 10, 1928 to November 1988 (n\u00ba 53-54). A second series, in smaller format, was printed in Lisbon, but only 2 issues appeared (November 1939 and February 1940). Complete sets are extremely rare. Presen\u00e7a was probably the most important Portuguese literary review of its time and one of the most important, if not the most important, of the twentieth century. Ant\u00f3nio Botto commented, \u201cAPresen\u00e7a oferece-nos como que uma vasta e estranha s\u00edntese liter\u00e1ria \u2026 resultante dos destro\u00e7os do simbolismo aristocr\u00e1tico Coimbr\u00e3o, do saudosismo portuense, do paulismo e futurismo lisboetas, al\u00e9m de tudo o que respirasse liberdade, inclusive, ou sobretudo, a sexual\u201d (quoted in Pires, p. 245). Successor to the modernist journal Orpheu<\/em>, it too published works by the leading figures in Portuguese literature, including M\u00e1rio S\u00e1-Carneiro, Fernando Pessoa, Jos\u00e9 R\u00e9gio, Casais Monteiro, Jo\u00e3o Gaspar Sim\u00f5es, Ant\u00f3nio de Sousa, Saul Dias, Branquinho da Fonseca, Almada Negreiros, Raul Leal, Alberto de Serpa, Irene Lisboa and Miguel Torga. It was responsible for introducing such foreign writers as Gide and Proust to Portuguese readers and for introducing the criticism of cinema as an art form; in addition, it emphasized contemporary music and the art of Cubists, Futurists, Primitivists and Expressionists. Presen\u00e7a was directed by Jos\u00e9 R\u00e9gio, Jo\u00e3o Gaspar Sim\u00f5es and Branquinho da Fonseca; Casais Monteiro later replaced Branquinho da Fonseca. Graphic contributors included Almada Negreiros, J\u00falio, M\u00e1rio El\u00f3i, D\u00f3rdio Gomes, Jo\u00e3o Carlos, Sara Afonso, Arlindo Vicente, Paulo, Ventura Porf\u00edrio and Bernardo Marques. <\/span><\/p>\n

Prometeu: Revista ilustrada de cultura<\/strong><\/em><\/a>: Porto. Culture. 1947-1952.<\/p>\n

Revista michaelense<\/strong><\/em><\/a>: Ponta Delgada. 1918-1921.<\/p>\n

Revista occidental<\/strong><\/em><\/a>: Lisboa: Escriptorio da Revista Occidental. 1875.\u00a0A literary periodical
\ncontaining the first appearance of O Crime do Padre Amaro<\/em>, the first novel written entirely by E\u00e7a de Queiroz, and certainly one of his most important works. E\u00e7a had serious disagreements with the editors of the Revista, Antero de Quental and Batalha Reis, regarding corrections to his work, and was very dissatisfied with the published result. He substantially revised it for the first edition in book form, published in 1876. The Revista Occidental<\/em> includes works in Portuguese by Antero de Quental, Manuel de Arriaga, Luciano Cordeiro, Gon\u00e7alves Crespo, Oliveira Martins and Gomes Leal, and also works in Spanish by C\u00e1novas del Castillo, Pi y Margall, Jacinto Octavio Pic\u00f3n and Patricio de la Escosura.<\/p>\n

Sibila<\/strong><\/em><\/a>: Castelo Branco. Literature. 1961.<\/p>\n

Tempo presente: revista portuguesa de cultura.<\/strong><\/em><\/a>\u00a0Lisbon: Jos\u00e9 Maria Alves, 1959-1961.27 issues in 26 volumes, a complete run. Some illustrations. Numbers 17-18 a double issue. Directed by Fernando Guedes and edited by Jos\u00e9 Maria Alves; the Conselho de Redac\u00e7\u00e3o consisted of Ant\u00f3nio Jos\u00e9 Brito, Ant\u00f3nio Manuel Couto Viana, Caetano de Melo Beir\u00e3o and Goulart Nogueira. With Catholic and fascist tendencies, this review played an important role in the spread of awareness of the Brazilian concrete poetry movement in Portugal, as well as in the recovery of the Futurists, Modernists and Dadaists. Some of the contributors (Angelo de Lima, Raul Leal, M\u00e1rio Saa, Almada Negreiros) also wrote for T\u00e1vola redonda and Graal, and were tied to the Gera\u00e7\u00e3o de Orpheu. Notable contributions include essays by Haroldo de Campos on \u201cA temperatura informacional do texto\u201d and \u201cEzra Pound e o futuro da poesia\u201d; Almada Negreiros, \u201cDeseja-se mulher\u201d; poems by T.S. Eliot, Ezra Pound, D.H. Lawrence and Rainer Maria Rilke; a previously unpublished letter by M\u00e1rio S\u00e1-Carneiro; a self-caricature by Sergei Eisenstein; Agustina Bessa-Lu\u00eds\u2019 short story \u201cO baile dos archotes\u201d; an unpublished sonnet by \u00c1lvaro de Campos, \u201cSoneto j\u00e1 antigo\u201d; Ruy Belo\u2019s poems \u201cSegunda infancia\u201d and \u201cComposi\u00e7\u00e3o de lugar e tempo\u201d; Manuel Bandeira\u2019s poem \u201cPrepara\u00e7\u00e3o para a morte\u201d; and unpublished letters of Jos\u00e9 Agostinho de Macedo. With respect to the visual arts, Tempo presente includes reproductions of works by M\u00e1rio Saa, Santa-Rita Pintor, Almada Negreiros, M\u00e1rio Eloy, the Dadaist Hans Arp and Henry Moore.<\/span><\/p>\n

Unic\u00f3rnio:\u00a0Antologia de in\u00e9ditos de autores portugueses contempor\u00e2neos<\/strong><\/em><\/a>: Lisboa: Imprensa Lib\u00e2nio da Silva, 1951-1956<\/span>. Poetry. 1951-1955. Organizada por Jos\u00e9-Augusto Fran\u00e7a. 5 issues in two volumes, a complete run. \u00a0Small folios (Unic\u00f3rnio and Bic\u00f3rnio 26.7 x 19 cm.; Tric\u00f3rnio and Tetrac\u00f3rnio 25.7 x 19 cm.; Pentac\u00f3rnio 26 x 19 cm.). Of one of the most interesting twentieth-century Portuguese literary reviews, also significant from the graphics-arts point of view. Organized and edited by Jos\u00e9-Augusto Fran\u00e7a, this review was privately printed in an unjustified edition of probably not more than 200 copies, thus managing to elude the attention of the censors. Indeed, it included much material ripe for censorship by the Salazar regime. The five issues appeared in May 1951, April 1952, November 1952, February 1955 and December 1956. The object, as recorded by Jos\u00e9-Augusto Fran\u00e7a, was to \u201creunir de forma algo coerente textos ensa\u00edsticos e de fic\u00e7\u00e3o e poesias, e promover inqu\u00e9ritos culturais situando-se numa valoriza\u00e7\u00e3o do pensamento po\u00e9tico\u201d. Privately, Fran\u00e7a asserted that the aim was to favorably position surrealism in relation to neo-realism. Nevertheless, this did not prevent the collaboration of Modernists and Postmodernists from the generation of Presen\u00e7a, as well as Neo-realists, together with the Surrealists. From the point of view of the history of ideas in Portugal, there are commentaries on Andr\u00e9 Gide by Jorge de Sena, \u201cComo vivem os intelectuais portugueses a sua rela\u00e7\u00e3o com a cultura passada em Portugal\u201d, organized by Eduardo Louren\u00e7o, \u201cQuais os livros que valeu a pena ler, quais os livros que valeu a pena escrever\u201d, and \u201cPara um conceito actual de modernidade\u201d. There is a dossier on the concept of the \u201cHomem revoltado\u201d in relation to Portuguese literature of the first half of the twentieth century. In the fifth and final number, Fran\u00e7a wrote a final note announcing the termination of the review, saying that it had failed due to excessive ambition and lack of contributors. He states that it had not been a review of any group or generation, manifesting its independence; and he accuses V\u00e9rtice of being \u201ccomprometida num sectarismo ultrapassado\u201d and Graal of \u201crepousar literariamente nas ilus\u00f5es de exist\u00eancia que a extrema-direita proporciona\u201d. This final assessment gave rise to a polemic with Jos\u00e9 R\u00e9gio in the pages of the Di\u00e1rio popular. Among the \u201ccore\u201d writers who contributed are Adolfo Casais Monteiro, Ant\u00f3nio Pedro, Jos\u00e9-Augusto Fran\u00e7a, Fernando Azevedo, Jorge de Sena (among his several pieces is one on D.H. Lawrence, with a translation of the poem \u201cDemocracy\u201d), Eduardo Louren\u00e7o, Alexandre O\u2019Neill, and Jos\u00e9 Blanc de Portugal. There are also contributions by Sophia de Mello Breyner Andresen, Ant\u00f3nio S\u00e9rgio, Delfim Santos, Jos\u00e9 R\u00e9gio, Vitorino Nem\u00e9sio, Almada Negreiros, Hern\u00e2ni Cidade, Joel Serr\u00e3o, Miguel Torga, Fernando Pessoa (a previously unpublished essay in Tric\u00f3rnio, \u201cO Orpheu e a literatura portuguesa\u201d), David Mour\u00e3o-Ferreira, Eug\u00e9nio de Andrade, Fernando Namora, Ferreira de Castro, Jo\u00e3o Pedro de Andrade, Jos\u00e9 Os\u00f3rio de Oliveira, Luiz Francisco Rebello, M\u00e1rio Dion\u00edsio, Tom\u00e1s Ribas, Urbano Tavares Rodrigues, Ruy Cinatti, Tom\u00e1s Kim, Fernando Lemos, Oscar Lopes, Alberto de Lacerda, and others. <\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Jos\u00e9 Rodrigues Migu\u00e9is Papers The Jos\u00e9 Rodrigues Migu\u00e9is Papers\u00a0are housed at an off-campus climate-controlled storage facility\u00a0and can be consulted at the John Hay Library by appointment. The collection holds the personal papers and selected volumes from the private library of … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":25,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"sidebar-page.php","meta":{"footnotes":""},"class_list":["post-349","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/library.brown.edu\/create\/brasiliana\/wp-json\/wp\/v2\/pages\/349","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/library.brown.edu\/create\/brasiliana\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/library.brown.edu\/create\/brasiliana\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/library.brown.edu\/create\/brasiliana\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/library.brown.edu\/create\/brasiliana\/wp-json\/wp\/v2\/comments?post=349"}],"version-history":[{"count":52,"href":"https:\/\/library.brown.edu\/create\/brasiliana\/wp-json\/wp\/v2\/pages\/349\/revisions"}],"predecessor-version":[{"id":457,"href":"https:\/\/library.brown.edu\/create\/brasiliana\/wp-json\/wp\/v2\/pages\/349\/revisions\/457"}],"wp:attachment":[{"href":"https:\/\/library.brown.edu\/create\/brasiliana\/wp-json\/wp\/v2\/media?parent=349"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}