Livro letters, vol. 1

Livro prae, vol. 1

Livro towards the one and only metaphor

Livro marginalia on casanova

Our street

Army of shadows

Writings on cinema and life

Livro black renaissance

Negative capability

Self-shadowing prey

Microliths they are, little stones

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Self-Shadowing Prey, one of the final texts by the Romanian poet Ghérasim Luca (1913-1994), is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, Self-Shadowing Prey is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions. Language is not merely put into...

Italian writer/director Elio Petri (1929-1982) is of the cinematic era of Pasolini, Bertolucci, and Bellocchio, and although he is recognized by film scholars as one of the major figures of Italian cinema, his work remains largely unknown outside of Italy. Hardly a marginal figure, Petri began as an assistant to Giuseppe De Santis and his future collaborators would include many of the most renowne...

Italian writer/director Elio Petri (1929-1982) is of the cinematic era of Pasolini, Bertolucci, and Bellocchio, and although he is recognized by film scholars as one of the major figures of Italian cinema, his work remains largely unknown outside of Italy. Hardly a marginal figure, Petri began as an assistant to Giuseppe De Santis and his future collaborators would include many of the most renowne...

Italian writer/director Elio Petri (1929-1982) is of the cinematic era of Pasolini, Bertolucci, and Bellocchio, and although he is recognized by film scholars as one of the major figures of Italian cinema, his work remains largely unknown outside of Italy. Hardly a marginal figure, Petri began as an assistant to Giuseppe De Santis and his future collaborators would include many of the most renowne...

Italian writer/director Elio Petri (1929-1982) is of the cinematic era of Pasolini, Bertolucci, and Bellocchio, and although he is recognized by film scholars as one of the major figures of Italian cinema, his work remains largely unknown outside of Italy. Hardly a marginal figure, Petri began as an assistant to Giuseppe De Santis and his future collaborators would include many of the most renowne...

Italian writer/director Elio Petri (1929-1982) is of the cinematic era of Pasolini, Bertolucci, and Bellocchio, and although he is recognized by film scholars as one of the major figures of Italian cinema, his work remains largely unknown outside of Italy. Hardly a marginal figure, Petri began as an assistant to Giuseppe De Santis and his future collaborators would include many of the most renowne...

Italian writer/director Elio Petri (1929-1982) is of the cinematic era of Pasolini, Bertolucci, and Bellocchio, and although he is recognized by film scholars as one of the major figures of Italian cinema, his work remains largely unknown outside of Italy. Hardly a marginal figure, Petri began as an assistant to Giuseppe De Santis and his future collaborators would include many of the most renowne...

Italian writer/director Elio Petri (1929-1982) is of the cinematic era of Pasolini, Bertolucci, and Bellocchio, and although he is recognized by film scholars as one of the major figures of Italian cinema, his work remains largely unknown outside of Italy. Hardly a marginal figure, Petri began as an assistant to Giuseppe De Santis and his future collaborators would include many of the most renowne...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

Walter Jackson Bates canonical 1939 study of Keatss concept of negative capability is a genealogical treatise that unearths the socio-political, aesthetic, and intellectual composition of Keatss most famous poetic idea. He discloses its relation to Hazlitts idea of gusto and to Shakespearean notions of impersonality and intensity while also demonstrating how negative capability presages Bergsons c...

In the mid-fifties Paul Celan suggested that he had a mind for writing that would be a bit more sober & more spacious than his poems. And yet, in his life-time Celan published very little of such more spacious work i.e. prose except for two essays that were public award-acceptance speeches, and a few occasional bits and pieces often published, or better, hidden away in obscure places. It is only...

In the mid-fifties Paul Celan suggested that he had a mind for writing that would be a bit more sober & more spacious than his poems. And yet, in his life-time Celan published very little of such more spacious work i.e. prose except for two essays that were public award-acceptance speeches, and a few occasional bits and pieces often published, or better, hidden away in obscure places. It is only...

In the mid-fifties Paul Celan suggested that he had a mind for writing that would be a bit more sober & more spacious than his poems. And yet, in his life-time Celan published very little of such more spacious work i.e. prose except for two essays that were public award-acceptance speeches, and a few occasional bits and pieces often published, or better, hidden away in obscure places. It is only...

In the mid-fifties Paul Celan suggested that he had a mind for writing that would be a bit more sober & more spacious than his poems. And yet, in his life-time Celan published very little of such more spacious work i.e. prose except for two essays that were public award-acceptance speeches, and a few occasional bits and pieces often published, or better, hidden away in obscure places. It is only...

In the mid-fifties Paul Celan suggested that he had a mind for writing that would be a bit more sober & more spacious than his poems. And yet, in his life-time Celan published very little of such more spacious work i.e. prose except for two essays that were public award-acceptance speeches, and a few occasional bits and pieces often published, or better, hidden away in obscure places. It is only...

In the mid-fifties Paul Celan suggested that he had a mind for writing that would be a bit more sober & more spacious than his poems. And yet, in his life-time Celan published very little of such more spacious work i.e. prose except for two essays that were public award-acceptance speeches, and a few occasional bits and pieces often published, or better, hidden away in obscure places. It is only...

In the mid-fifties Paul Celan suggested that he had a mind for writing that would be a bit more sober & more spacious than his poems. And yet, in his life-time Celan published very little of such more spacious work i.e. prose except for two essays that were public award-acceptance speeches, and a few occasional bits and pieces often published, or better, hidden away in obscure places. It is only...

In the mid-fifties Paul Celan suggested that he had a mind for writing that would be a bit more sober & more spacious than his poems. And yet, in his life-time Celan published very little of such more spacious work i.e. prose except for two essays that were public award-acceptance speeches, and a few occasional bits and pieces often published, or better, hidden away in obscure places. It is only...