MACAU “PINTADA” EM VERSOS DE “PEDRA E ÁGUA” POR EUGÉNIO DE ANDRADE歐熱尼奥‧恩特拉德之詩篇 “石與水”中的澳門描述
The article analyzes the representations of Macau in *Pequeno Caderno do Oriente* and, in particular, the way in which Eugénio de Andrade constructs the city in dialogue with the Portuguese lyrical tradition. Starting from the assertion that the poetic word “shapes” landscapes, people, and culture,...
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| Published in: | Review of Culture |
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| Format: | Articles |
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Instituto Cultural de Macau
April 2010
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| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40034/3546 |
| Summary: | The article analyzes the representations of Macau in *Pequeno Caderno do Oriente* and, in particular, the way in which Eugénio de Andrade constructs the city in dialogue with the Portuguese lyrical tradition. Starting from the assertion that the poetic word “shapes” landscapes, people, and culture, Dora Nunes Gago argues that the author’s textual “Macau” is not limited to the impressionistic record of the 1990 encounter, but rather functions as a site for the reactivation of earlier myths and poetics. The author frames the reading within two intertextual lines: the legendary presence of Camões in the Orient and the centrality of Camilo Pessanha as an effective “master.” Methodologically, the study proceeds through an annotated reading of key passages from the notebook (“Defesa de Camões” and the text “Camilo Pessanha, O Mestre”), articulating rhetorical and cultural analysis with the historical contextualization of the figures evoked. As findings, it becomes evident that the legitimacy of certain images (such as the Camonian grotto) may persist despite factual refutations, while Andrade’s criticism falls above all on the poverty of commemorative devices. In parallel, Pessanha’s “music” operates as an aesthetic paradigm for writing the Orient, consolidating Macau as a space of literary memory and poetic asceticism. |
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| ISSN: | 1682-1106 |