This essay is about the lyric authorship of the Swedish poet Hjalmar Gullberg (1898-1961), who was nicknamed “The Lyric Hegelian” due to his love of paradox. It focuses on certain traits in his authorship in its entirety, with a specific focus on a select number of poems. The primary concerns of this essay are questions of an existential nature raised by Gullberg’s poetry, as well as his poetry’s relation to his time and age. As a member of the Swedish Academy Gullberg was an important literary presence in his day, most likely influencing the outcome of several Nobel Prizes. Gullberg’s poetry is part classicist and part modernist, combining traditional forms with newer ones, and in doing so it bears witness to contemporary society entering a state of modernity. Gullberg held feelings of both appreciation and aversion towards his time and age. His poetry touches upon a multitude of topics and includes motifs that are both ancient and contemporary, and these are combined as the poet searches for meaning in ephemeral existence. The present essay traces the development of an existential worldview and a type of philosophy in the authorship, which are characterised by complexity and uncertainty; these change with time, and this development can be seen in the different collections of poems. A shift can be observed from a spirit of optimism and religiosity towards a contrary mindset of pessimism and disbelief. This essay argues that Gullberg’s authorship is representative of its time and age in the sense that the views expressed in the poetry seem to correlate to the development of society and the general mentality in Sweden and much of Europe during the twentieth century, with regard to the process of secularisation that took place. The poetry of Gullberg leaves us with many questions and few definite answers. However, its value lies in the eloquent treatment that it gives to the subject-matter which is presented, and in that it encourages reflection. Gullberg was a late representative of an older literary tradition and an early representative of a new one; accordingly he embodied an important change in Swedish literary history.

This essay is about the lyric authorship of the Swedish poet Hjalmar Gullberg (1898-1961), who was nicknamed “The Lyric Hegelian” due to his love of paradox. It focuses on certain traits in his authorship in its entirety, with a specific focus on a select number of poems. The primary concerns of this essay are questions of an existential nature raised by Gullberg’s poetry, as well as his poetry’s relation to his time and age. As a member of the Swedish Academy Gullberg was an important literary presence in his day, most likely influencing the outcome of several Nobel Prizes. Gullberg’s poetry is part classicist and part modernist, combining traditional forms with newer ones, and in doing so it bears witness to contemporary society entering a state of modernity. Gullberg held feelings of both appreciation and aversion towards his time and age. His poetry touches upon a multitude of topics and includes motifs that are both ancient and contemporary, and these are combined as the poet searches for meaning in ephemeral existence. The present essay traces the development of an existential worldview and a type of philosophy in the authorship, which are characterised by complexity and uncertainty; these change with time, and this development can be seen in the different collections of poems. A shift can be observed from a spirit of optimism and religiosity towards a contrary mindset of pessimism and disbelief. This essay argues that Gullberg’s authorship is representative of its time and age in the sense that the views expressed in the poetry seem to correlate to the development of society and the general mentality in Sweden and much of Europe during the twentieth century, with regard to the process of secularisation that took place. The poetry of Gullberg leaves us with many questions and few definite answers. However, its value lies in the eloquent treatment that it gives to the subject-matter which is presented, and in that it encourages reflection. Gullberg was a late representative of an older literary tradition and an early representative of a new one; accordingly he embodied an important change in Swedish literary history.

<p>Este trabalho tem como objetivo analisar como são feitas as idas e voltas aos cotidianos das três donas-de-casa que são as protagonistas dos contos <em>Devaneio e Embriaguez duma rapariga</em>, <em>Amor</em> e <em>A fuga</em>, de Clarice Lispector e, sobretudo analisar o eventual valor simbólico que a presença dos fatores naturais e da lua exercem sobre estes contos.</p><p>Com apoio nos trabalhos de Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) e Yudith Rosenbaum (2002) e dos conceitos-teóricos de gênero apresentados por Chatarina Edfeldt e Anabela Galhardo Couto (2008) em <em>Mulheres que escrevem Mulheres que lêem</em> procuram-se respostas à questões de como, por que e através de que as protagonistas fazem suas escapadas de seus cotidianos e como podem ser extraídos valores simbólicos denunciadores das causas das angústias das personagens.</p><p>Dentre as conclusões estão, que as protagonistas sentem um incômodo em suas vidas e são por isto, chamadas para fazerem suas “idas” pelo que a lua e a natureza simbolizam: um chamado para uma outra vida, livre de suas situações aprisionantes. Conclui-se também que após as suas idas as personagens voltam ao seu cotidiano normal por causa dos valores patriarcais internalizados, dentre os quais estão incluídas a culpa, amor à família e a impossibilidade destas mulheres de cuidarem autonomamente de sí mesmas. No entanto, percebem-se que após os questionamentos feitos em suas idas elas voltam conscientizadas, despertadas para uma nova maneira de olharem para si mesmas, suas situações e o papel de gênero que elas fazem.</p> / <p>This work has the purpose to analyze how the departures and arrivals to the daily life are made by the three housewives who composes the main characters in the short-stories <em>Devaneio e Embriaguez duma rapariga,</em> <em>Amor</em> and <em>A fuga</em>, by Clarice Lispector and, above all analyze the eventual symbolic value that the presence of the natures elements and the moon exerts over these short-stories.</p><p>With the support of Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) and Yudith Rosenbaums (2002) works and of the theoretic concepts of gender presented by Chatarina Edfeldt and Anabela Galhardo Couto (2008) in <em>Mulheres que escrevem Mulheres que lêem</em>, answers are sought to the questions of how, why and through what, the main characters make escapes from their everyday lives and, how it is possible to extract symbolic values that denunciates the causes of the main characters anxieties.</p><p>Within the conclusions are that the main characters feel a discomfort with their lives and are because of that, called to make their “departures” through what the moon and the nature symbolizes: a calling to another life, free from their imprisoning situations. Another conclusion is that they come back because of the internalized patriarchal values, among which are included the guilt, the love to the family and the impossibility of these women to take care of themselves. However, it is noticeable that after the questionings made in their departures and arrivals they return with awareness, awakened to a new way to look at themselves, their situations and the gender roles that they play.</p> / <p>Detta arbete har som syfte att analysera hur turerna och returerna till vardagen görs av de tre hemmafruar som utgör huvudpersonerna i berättelserna <em>Devaneio e Embriaguez duma rapariga</em>, <em>Amor</em> och <em>A fuga</em>, av Clarice Lispector och, framförallt analysera det eventuella symboliska värdet som närvaron av naturens faktorer och månen utövar över dessa berättelser.</p><p>Med stöd av Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) och Yudith Rosenbaums (2002) arbeten samt av genus-teoretiska begrepp som pressenteras av Chatarina Edfeldt och Anabela Galhardo Couto (2008) i <em>Mulheres que escrevem Mulheres que lêem</em>, sökes svar till frågeställningarna hur, varför och genom vad, huvudpersonerna flyr från sina vardagsliv och, hur det är möjligt att utvinna symboliska värden som anger anledningarna till huvudpersonernas ångest.</p><p>Bland slutsatserna finnes att huvudpersonerna känner ett obehag med sina liv och blir därför, kallade till att göra sina ”turer” genom det som månen och naturen symboliserar: en kallelse till ett annat liv, fritt från sina fängslande situationer. Ytterligare en slutsatts är att de färdas tillbaka på grund av de internaliserade patriarkaliska värderingar, som inkluderar skulden, kärleken till familjen samt omöjligheten för dessa kvinnor att klara sig själva. Emellertid, märks det att efter de diskussioner som de gjort i sina turer kommer de tillbaka medvetandegjorda, uppväckta till ett nytt sätt att se på sig själva, sina situationer och de genusroller som de spelar.</p>

Este trabalho tem como objetivo analisar como são feitas as idas e voltas aos cotidianos das três donas-de-casa que são as protagonistas dos contos Devaneio e Embriaguez duma rapariga, Amor e A fuga, de Clarice Lispector e, sobretudo analisar o eventual valor simbólico que a presença dos fatores naturais e da lua exercem sobre estes contos. Com apoio nos trabalhos de Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) e Yudith Rosenbaum (2002) e dos conceitos-teóricos de gênero apresentados por Chatarina Edfeldt e Anabela Galhardo Couto (2008) em Mulheres que escrevem Mulheres que lêem procuram-se respostas à questões de como, por que e através de que as protagonistas fazem suas escapadas de seus cotidianos e como podem ser extraídos valores simbólicos denunciadores das causas das angústias das personagens. Dentre as conclusões estão, que as protagonistas sentem um incômodo em suas vidas e são por isto, chamadas para fazerem suas “idas” pelo que a lua e a natureza simbolizam: um chamado para uma outra vida, livre de suas situações aprisionantes. Conclui-se também que após as suas idas as personagens voltam ao seu cotidiano normal por causa dos valores patriarcais internalizados, dentre os quais estão incluídas a culpa, amor à família e a impossibilidade destas mulheres de cuidarem autonomamente de sí mesmas. No entanto, percebem-se que após os questionamentos feitos em suas idas elas voltam conscientizadas, despertadas para uma nova maneira de olharem para si mesmas, suas situações e o papel de gênero que elas fazem. / This work has the purpose to analyze how the departures and arrivals to the daily life are made by the three housewives who composes the main characters in the short-stories Devaneio e Embriaguez duma rapariga, Amor and A fuga, by Clarice Lispector and, above all analyze the eventual symbolic value that the presence of the natures elements and the moon exerts over these short-stories. With the support of Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) and Yudith Rosenbaums (2002) works and of the theoretic concepts of gender presented by Chatarina Edfeldt and Anabela Galhardo Couto (2008) in Mulheres que escrevem Mulheres que lêem, answers are sought to the questions of how, why and through what, the main characters make escapes from their everyday lives and, how it is possible to extract symbolic values that denunciates the causes of the main characters anxieties. Within the conclusions are that the main characters feel a discomfort with their lives and are because of that, called to make their “departures” through what the moon and the nature symbolizes: a calling to another life, free from their imprisoning situations. Another conclusion is that they come back because of the internalized patriarchal values, among which are included the guilt, the love to the family and the impossibility of these women to take care of themselves. However, it is noticeable that after the questionings made in their departures and arrivals they return with awareness, awakened to a new way to look at themselves, their situations and the gender roles that they play. / Detta arbete har som syfte att analysera hur turerna och returerna till vardagen görs av de tre hemmafruar som utgör huvudpersonerna i berättelserna Devaneio e Embriaguez duma rapariga, Amor och A fuga, av Clarice Lispector och, framförallt analysera det eventuella symboliska värdet som närvaron av naturens faktorer och månen utövar över dessa berättelser. Med stöd av Ana Carolina de Araújo Abiahy (2006a, 2006b, 2008), Berta Waldman (1993) och Yudith Rosenbaums (2002) arbeten samt av genus-teoretiska begrepp som pressenteras av Chatarina Edfeldt och Anabela Galhardo Couto (2008) i Mulheres que escrevem Mulheres que lêem, sökes svar till frågeställningarna hur, varför och genom vad, huvudpersonerna flyr från sina vardagsliv och, hur det är möjligt att utvinna symboliska värden som anger anledningarna till huvudpersonernas ångest. Bland slutsatserna finnes att huvudpersonerna känner ett obehag med sina liv och blir därför, kallade till att göra sina ”turer” genom det som månen och naturen symboliserar: en kallelse till ett annat liv, fritt från sina fängslande situationer. Ytterligare en slutsatts är att de färdas tillbaka på grund av de internaliserade patriarkaliska värderingar, som inkluderar skulden, kärleken till familjen samt omöjligheten för dessa kvinnor att klara sig själva. Emellertid, märks det att efter de diskussioner som de gjort i sina turer kommer de tillbaka medvetandegjorda, uppväckta till ett nytt sätt att se på sig själva, sina situationer och de genusroller som de spelar.