UNICÓRNIO-BICÓRNIO-TRICÓRNIO-TETRACÓRNIO-PENTACÓRNIO – 5 ÚNICOS VOLUMES – ANTOLOGIA DE INÉDITOS DE AUTORES PORTUGUESES CONTEMPORÂNEOS

Book Description: Lisbon, Imprensa Libânio da Silva, 1951-1956., 1956. Illustrations in text; 9 plates. 64, 3 plates; 64 pp., 3 plates; 64 pp., 3 plates; 72 pp., (6 ll.); 70 pp., (1 l.). Five issues. Small folios (@Unicórnio and @Bicórnio 26.7 x 19 cm.; @Tricórnio and @Tetracórnio 25.7 x 19 cm.; @Pentacórnio 26 x 19 cm.), ; @Unicórnio, @Bicórnio, @Tricórnio, @Tetracórnio and @Pentacórnio. A very good to fine set. Five issues. FIRST and ONLY EDITION, a COMPLETE RUN of one of the most interesting twentieth-century Portuguese literary reviews, also significant from the graphics-arts point of view. Organized and edited by José-Augusto França, this review was privately printed in an unjustified edition of probably not more than 200 copies, thus managing to elude the attention of the censors. Indeed, it included much material ripe for censorship by the Salazar regime. The five issues appeared in May 1951, April 1952, November 1952, February 1955 and December 1956. The object, as recorded by José-Augusto França, was to “reunir de forma algo coerente textos ensaísticos e de ficção e poesias, e promover inquéritos culturais situando-se numa valorização do pensamento poético”. Privately, França asserted that the aim was to favorably position surrealism in relation to neo-realism. Nevertheless, this did not prevent the collaboration of Modernists and Postmodernists from the generation of @Presença, as well as Neo-realists, together with the Surrealists. From the point of view of the history of ideas in Portugal, there are commentaries on André Gide by Jorge de Sena, “Como vivem os intelectuais portugueses a sua relação com a cultura passada em Portugal”, organized by Eduardo Lourenço, “Quais os livros que valeu a pena ler, quais os livros que valeu a pena escrever”, and “Para um conceito actual de modernidade”. There is a @dossier on the concept of the “Homem revoltado” in relation to Portuguese literature of the first half of the twentieth century. In the fifth and final number, França wrote a final note announcing the termination of the review, saying that it had failed due to excessive ambition and lack of contributors. He states that it had not been a review of any group or generation, manifesting its independence; and he accuses @Vértice of being “comprometida num sectarismo ultrapassado” and @Graal of “repousar literariamente nas ilusões de existência que a extrema-direita proporciona”. This final assessment gave rise to a polemic with José Régio in the pages of the @Diário popular.Among the “core” writers who contributed are Adolfo Casais Monteiro, António Pedro, José-Augusto França, Fernando Azevedo, Jorge de Sena (among his several pieces is one on D.H. Lawrence, with a translation of the poem “Democracy”), Eduardo Lourenço, Alexandre O’Neill, and José Blanc de Portugal. There are also contributions by Sophia de Mello Breyner Andresen, António Sérgio, Delfim Santos, José Régio, Vitorino Nemésio, Almada Negreiros, Hernâni Cidade, Joel Serrão, Miguel Torga, Fernando Pessoa (a previously unpublished essay in @Tricórnio, “O @Orpheu e a literatura portuguesa”), David Mourão-Ferreira, Eugénio de Andrade, Fernando Namora, Ferreira de Castro, João Pedro de Andrade, José Osório de Oliveira, Luiz Francisco Rebello, Mário Dionísio, Tomás Ribas, Urbano Tavares Rodrigues, Ruy Cinatti, Tomás Kim, Fernando Lemos, Oscar Lopes, Alberto de Lacerda, and others. —- Pires, @Dicionário da imprensa periódica literária portuguesa do século XX, II, ii, 584-8. Rocha, @Revistas literárias do século XX em Portugal, pp. 546-50, 661. Serpa 1279. Almeida Marques 2288. See Portugal, Biblioteca Nacional, @Unicórnio, etc.: mostra documental, 16 de Dezembro de 2006 a 3 de Março de 2007

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Livraria Santiago