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Cadáver Esquisito
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O objectivo inicial deste artigo é mostrar como o livro O Virgem Negra, de Mário Cesariny de Vasconcelos, obedece a uma série de convenções típicas de uma edição, o que se pode observar em especial na conclusiva secção de notas. O segundo objectivo consiste em argumentar que a forma deste livro terá sido influenciada pela experiência de Cesariny enquanto editor quando organizou um volume dedicado à literatura de cordel. No final, propõe-se que a moldura editorial serve de instrumento ao autor para proceder a uma releitura radical da obra e da posteridade de Fernando Pessoa.
The first goal of this article is to show how O Virgem Negra, a work by Mário Cesariny de Vasconcelos, uses a series of conventions which are typical of an edition, something that can be especially observed in the last section of the book, made up of notes. The second goal is to argue that the shape of this book was probably influenced by Cesariny’s experience as an editor at the time he prepared a volume on “cordel” literature. In the end it is suggested that the editorial framework the author has had recourse to is instrumental in the extreme re-reading he proposes of Fernando Pessoa’s work and posterity.
The first goal of this article is to show how O Virgem Negra, a work by Mário Cesariny de Vasconcelos, uses a series of conventions which are typical of an edition, something that can be especially observed in the last section of the book, made up of notes. The second goal is to argue that the shape of this book was probably influenced by Cesariny’s experience as an editor at the time he prepared a volume on “cordel” literature. In the end it is suggested that the editorial framework the author has had recourse to is instrumental in the extreme re-reading he proposes of Fernando Pessoa’s work and posterity.
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Edição Paródia Notas editoriais
Contexto Educativo
Citação
DIONÍSIO, João (2017): “Cadáver esquisito”, Revista ABRALIN, vol.16, n.1, 2017, p.265-284
Editora
Associação Brasileira de Linguística