28 de fevereiro de 2017

Nas ruas da Lisboa renascentista - uma coletânea de estudos sobre "a cidade global"

THE GLOBAL CITY

on the streets of Renaissance Lisbon


Edited by Annemarie Jordan Gschwend and K. J. P. Lowe.

London: Paul Holberton Publishing, 2015


A recente identificação da Rua Nova dos Mercadores – principal artéria comercial e financeira na Lisboa Renascentista – por Annemarie Jordan Gschwend e K.J.P. Lowe, em duas pinturas do século XVI, foi o ponto de partida para o retrato de uma cidade global no início do período moderno…


“Recently identified by the editors as the Rua Nova dos Mercadores, the principal commercial and financial street in Renaissance Lisbon, two sixteenth-century paintings, acquired by Dante Gabriel Rossetti in 1866, form the starting point for this portrait of a global city in the early modern period. Focusing on unpublished objects, and incorporating newly discovered documents and inventories that allow novel interpretations of the Rua Nova and the goods for sale on it, these essays offer a compelling and original study of a metropolis whose reach once spanned four continents.
The Rua Nova views painted by an anonymous Flemish artist portray an everyday scene on a recognisable street, with a diverse global population. This thoroughfare was the meeting point of all kinds of people, from rich to poor, slave to knight, indigenous Portuguese to Jews and diasporic black Africans.
The volume highlights the unique status of Lisbon as an entrepôt for curiosities, luxury goods and wild animals. As the Portuguese trading empire of the fifteenth and sixteenth century expanded sea-routes and networks from West Africa to India and the Far East, non-European cargoes were brought back to Renaissance Lisbon. Many rarities were earmarked for the Portuguese court, but simultaneously exclusive items were readily available for sale on the Rua Nova, the Lisbon equivalent of Bond Street or Fifth Avenue. Specialized shops offered West African and Ceylonese ivories, raffia and Asian textiles, rock crystals, Ming porcelain, Chinese and Ryukyuan lacquerware, jewellery, precious stones, naturalia and exotic animal by-products. Lisbon was also a hub of distribution for overseas goods to other courts and cities in Europe. The cross-cultural and artistic influences between Lisbon and Portuguese Africa and Asia at this date will be re-assessed.
Lisbon was imagined as the head of empire or caput mundi, while the River Tagus became the aquatic gateway to a globally connected world. Lisbon evolved into a dynamic Atlantic port city, excelling in shipbuilding, cartography and the manufacture of naval instruments. The historian Damião de Góis bragged of the “Tagus reigning over the world”. Lisbon’s fame depended on its river, an aquatic avenue that competed with the Rua Nova, providing a means of interaction, trade and communication along Lisbon’s coastline. Even for the cosmopolitan Góis, who travelled extensively for the Portuguese crown, Lisbon’s chaotic docks were worth describing. Of all the European cities he experienced, only Lisbon and her rival Seville could be “rightfully called Ladies and Queens of the Sea”. Góis contended that they had opened up the early modern world through circumnavigation.
Lisbon was destroyed in a devastating earthquake and tsunami in November 1755. These paintings are the only large-scale vistas of Rua Nova dos Mercadores to have survived, and together with the new objects and archival sources offer a fresh and original insight into Renaissance Lisbon and its material culture.”
In site da editora Paul Holberton Publishing.

Índice


Introduction
  • “Princess of the seas, queen of empire: configuring the city and port of Renaissance Lisbon”, Annemarie Jordan Gschwend e Kate Lowe.


The maritime city
  • “Foreign descriptions of the global city: Renaissance Lisbon from the outside”, Kate Lowe.
  • “The global population in sixteenth-century Lisbon”, Kate Lowe.
  • Chinese commodities on the India route in the late sixteenth and early seventeenth century”, Rui Loureiro.
  • “Saved from the sea: the shipwreck of the Bom Jesus (1533) and its material culture”, Bruno Werz.


Bringing a street back to life
·      “Aquela grã Rua Nova”: Images of the Rua Nova in sixteenth-century Portuguese literature”, T.F. Earle.
·      “Reconstructing the Rua Nova: the life of a global street in Renaissance Lisbon”, Annemarie Jordan Gschwend.
·      “Global interiors on the Rua Nova in Renaissance Lisbon”, Hugo Miguel Crespo.
·      Olisipo, emporium nobilissimum: global consumption on the Rua Nova”, Annemarie Jordan Gschwend.

Material culture: case studies from West Africa, Brazil and Portuguese Asia
  • “Made in Africa: West African luxury goods for Lisbon’s markets”, Kate Lowe.
  • “On the Turkey in Rua Nova dos Mercadores”, Shepard Krech III.
  • “Rock crystal carving in Portuguese Asia: an archaeometric analysis”, Hugo Miguel Crespo.
  • “‘The Three Brothers’: Sixteenth-century Lacquered Indo-Persian shields or commodities for display? A case study”, Ulrike Körber.
  • “Some notes on the production of Christian sculpted ivories in the Estado da Índia”, Carla Alferes Pinto.


Epilogue
  • “The Rua Nova dos Mercadores paintings, Dante Gabriel Rossetti and the Victorian art dealer George Love: questions of provenance”,
 Annemarie Jordan Gschwend.


Documentary appendices




Vista da Rua Nova dos Mercadores, c. 1570-1619.
Rua Nova I - Rua Nova dos Ferros com a esquina do Largo do Pelourinho Velho;
Rua Nova II - Do Arco dos Barretes ao Arco dos Pregos;
De Autor flamengo desconhecido
Propriedade: Londres, Kelmscott Manor Collection
The Society of Antiquaries of London.



Referência do livro:

GSCHWEND, Annemarie Jordan e Kate K. J. P. Lowe, ed. (2015) The global city: on the streets of Renaissance LisbonLondon: Paul Holberton Publishing. – 240 p.; il. (28x24cm). – Ed. em capa dura, nov. 2015, ISBN 978 1 907372 88 9.

3 de fevereiro de 2017

A recorrência de Camões no ensaísmo de Helder de Macedo




Helder Macedo
Camões e outros contemporâneos
Lisboa: Presença, 2017.



Na coletânea de ensaios Camões e outros contemporâneos, Helder Macedo parte da premissa «contemporâneos são todos aqueles com quem vivemos». 

Desse modo, a sua abordagem literária privilegiará, recorrentemente, a obra de Luís de Camões, mas abrangerá igualmente outros nomes maiores da nossa literatura, dos cantores trovadorescos, a Cesariny, de Bernardim Ribeiro a Herberto Helder, de Sá de Miranda a M. Teixeira-Gomes ou José Saramago, Sophia, José Cardoso Pires ou mesmo o «grupo do Café Gelo».

Um livro constituído por vinte e quatro textos ou capítulos, representativos do rigor e inovação do ensaísta, autor de estudos camonianos como Camões e a viagem iniciática (1980; 2.ª ed., 2013), estudos que encontram o seu enquadramento no capítulo em que o autor expões a sua visão crítica da história da literatura portuguesa. Nessa contextualização histórico-cultural, o leitor poderá conhecer em traços globais e gerais as "convergências e divergências" entre os autores, obras e temas abordados em cada capítulo.

A coletânea divide-se em quatro partes. A primeira, intitulada “Camões e a modernidade da tradição”, integra ensaios, entre outros, sobre Camões e Sá de Miranda. A segunda, “História, memória e ficção”, inclui, entre outros, textos sobre Fernão Lopes e António Vieira, para além de outros sobre as personagens D. Quixote e Dulcinia, as “ficções da identidade” em Fernando Pessoa e Cesário Verde e ainda sobre “A Balada da Praia dos Cães” de José Cardoso Pires. A terceira parte, constituída por “Testemunhos”, compreende oito textos sobre Sophia, Cesariny ou Herberto Helder. A quarta e última parte é dedicada ao referido “enquadramento analítico" de "oito séculos de literatura portuguesa”.

A coletânea de ensaios foi lançada no dia 2 de fevereiro, de 2017. A descobrir.