Wished-for and Unwished-for Identities
Edited By Flocel Sabaté
Jamil Almansur Haddad and the paradoxes of an identity in transition
Christina STEPHANO DE QUEIROZ
Universidade de São Paulo
The image of a pendulum that oscillates between two ends is used by critics as Tristão de Athayde1 and Sérgio Milliet2 to describe orientation changes of the poetry produced in Brazil between the years of 1922 and 1950. This image suggests that on one side remain the ideals of the modernist movement, and at the other extreme is placed the 45’s Generation, while the 30’s decade is characterized by transition aspects.
One of the most important events in the history of Brazilian literature, the Semana de Arte Moderna (“Modern Art Week”) was carried on Sao Paulo in 1922, by poets, writers and artists namely Oswald de Andrade, Mário de Andrade, Victor Brecheret and Menotti del Pichia. This event has officially initiated the Modernism in Brazil, which advocated the rupture with romantic and realistic lyricism of the previous movements and has integrated the national literature to the Euro-American vanguards. As main features that guide this period production, the critics point out to the freedom and objectiveness nature of the language, besides the effort to build a Brazilian identity notion, taking advantage in an anthropophagic fashion of the aesthetic acquisitions ongoing in Europe.
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