Titlebook: Essays on Hilda Hilst; Between Brazil and W Adam Morris,Bruno Carvalho Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Brazi

挑剔小責(zé)

Revisioning Japanese Management,, who satirized this bastardization of the craft. In ., Hilst plays with the pornographic, as a mode, as a discourse, and as a register. This chapter explores the poetic and discursive effects of this play, which in classic Hilstian fashion combines the sacred with the profane, beauty with abjection, and truth with deceit.

溝通

盲信者

,Introduction: Who’s Afraid of Hilda Hilst? An Author Between Brazil and “World Literature.”,ted a significant critical bibliography, and inspired a legion of devoted readers. Although her reach outside Brazil does not match that of better-known authors such as Machado de Assis and Clarice Lispector, her versatility remains unparalleled. Not only do her dozens of works span poetry, fiction,

GRUEL

A Brazilian ,: Queering the Family in Hilda Hilst’s , (,)ip. These plays anticipate Hilst’s prose works by exemplifying the development of her distinctive ., which questions the masculinist authoritarian and patriarchal discourse of Brazil during the first phase of its sequence of military dictatorships. Focusing on the play . this chapter describes how H

Dorsal-Kyphosis

Is the Word Alive? An Inquiry into Poetics and Theater in , (,) by Hilda Hilst Adornian question about what type of poetry is possible after Auschwitz. Crisscrossed by a “performance of the archive,” the text’s reflection moves from its specific historical context, to historical analogy and timeless questions about human cruelty and fragility. . defines the poetic diction and

annexation

Meditate

值得尊敬

A Nation on the Ground Floor: The Face of Brazil, Drawn with Hilda Hilst’s Political Pen not mean the nation or national politics disinterested her. On the contrary, Hilst engaged in acts of national identity–deconstruction. Taking Hilst’s novella “Axelrod (da propor??o)” from the novella trilogy . as its primary tutor text, this chapter demonstrates how Hilst appropriates the marginal

夾克怕包裹

When “the Life of Sentiments Is Extremely Bourgeois”: Ideal Love and Nonconformism in the Love Poemshetics and the work that followed this supposed pivot. Yet when read as a whole, Hilst’s poetic production reveals a remarkable unity owing to the author’s sustained and consistent engagement with erotic themes. This chapter explains the evolution of Hilst’s poetic personae and the poet’s renovation

增強(qiáng)

Translating Brazil’s Marquise de Saderming. The intrusion of market-based considerations into the office of the writer, she believed, had corrupted this duty. This deeply frustrated Hilst, who satirized this bastardization of the craft. In ., Hilst plays with the pornographic, as a mode, as a discourse, and as a register. This chapter