As Mulheres que Habitam em mim (Portuguese Edition)

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  1. "mulherão" English translation
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  4. Mulher Rendeira – “The Bandit of Brazil”
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And there, they are instantly recognised and greeted by a host of other words, with whom they have an affinity of meaning, or of opposition, or of metaphor or alliteration or rhythm. They are questioning the roles I allotted them. So I modify the lines, change a word or two, and submit them again. Specimen stems from Babel, which was born in the middle of the Swiss Alps. Switzerland, Babel and Specimen have the same mother tongue, translation. Italian, French, German, English.

Le altre sezioni parlano del risveglio la mattina del compleanno, della separazione, di una casa lasciata e delle strade di Londra. The day is January 7, He is a writer unafraid of deep silences and of holding us there. But underneath the narratives, buried in a phrase or a thought, is a glimpse of humor, the scent of bitter oranges, the smell of fresh rain after a drought — through small but powerful images of beauty, he manages to connect us with something greater than human misery, and that is simply the fact of being human.

"mulherão" English translation

One or another circumstance blocked the road. Brodsky was not a Christian in the strict sense of the term—definitely not a churchgoer—but he possessed a profound sense of the Christian tradition as a major force in the shaping of Western culture. And he was invariably drawn, in his poetry and his life, by the metaphysics of the Gospel and the Ancient Testament alike, which he often found himself expanding beyond the limits of doctrine.

Iosif Brodskij non era cristiano nel senso stretto del termine — certamente non era un praticante — ma possedeva un profondo senso della tradizione cristiana quale elemento fondante della cultura occidentale. Ed era invariabilmente attratto, sia nella poesia che nella vita, dalla metafisica delle storie neo e veterotestamentarie, che spesso si trovava ad espandere oltre i limiti della dottrina. Specimen chases second languages in all their forms because translations, multilingualism, echolalias and linguistic hospitalities multiply the layers of language and pronounce diversities.

They force us to have second thoughts. They give us a second chance. The first poems date back to the s, and the last, to , the year of his death.

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Orelli had a long life, but he was a poet of relatively scant output and he was, above all, very selective. His books show a continuous formal evolution and, at the same time, a tenacious loyalty to his themes and locations. The consistency and overall quality of his work are impressive. Even among the texts he wrote at the age of 90, there are some masterpieces that seem to reach a new level of simplicity and transparency. Themes of transience and death are always present in his work, but they appear as shadows and outlines that, however threatening, render the colours of life even brighter.

Or they appear as the opposite: Orelli is fundamentally a realist poet; he loved day-to-day reality too much to distance himself from it completely, but that did not stop him from writing poems that have aspects of fantasy and fable to them, sometimes even the dreamlike and the metaphysical, because these dimensions are part of our lives as well. Among his best-known poems, there are encounters on the streets of Bellinzona; adventures that are slight, but still adventures; dialogues composed of a few memorable lines. For him, each encounter is also a linguistic event into which he can introduce the Italian poetic tradition that of Dante, first and foremost , puns and Freudian slips, the wonderful inventions of children, the sometimes alienating snippets of a foreign language or the telling witticisms of a dialect.

All of this coexists in the poetry of Orelli — just as it was embodied in the poet himself — with extraordinary vivacity and naturalness. What keeps them at such times from disintegration is not legions but language. Such was the case of Rome, and before that, of Hellenic Greece. The job of holding the center at such times is often done by the men from the provinces, from the outskirts. Contrary to popular belief, the outskirts are not where the world ends — they are precisely where it begins to unfurl. Unlike most accounts of the genocide, there are no historical reconstructions or political and sociological analyses in this book.

The imaginary line upon which the letters in a font appear to rest. Although I love you, you will have to leap; Our dream of safety has to disappear. A translated poem is necessarily a new thing, but it has a relationship with the original. The linguistic arrow rather than the narrative arc. We may call him difficult, hermetic, obscure, but that obscurity is the obscu- rity of someone who protects his mysteries to better illuminate them from the inside.

As for us, before such an intense and different light, maybe we are simply blind. Indeed, by a logic peculiar to the institution [of criticism], one of the standard ways of practicing literary criticism is to announce that you are avoiding it. This is so because at the heart of the institution is the wish to deny that its activities have any consequences.

This idea is in agreement with the generally accepted principles of Modernism and still appears to be among the most popular characteristics of the movement as it has been interpreted by many critics. This belief may have, in part, legitimated some positions of passive resigna- tion toward what is perceived as the inscrutability of the literary text. Yet, just as she did in , she still defends the incomprehensibility of texts: One cannot read into things while simultaneously lecturing the reader about the unreadability of things. This particular reading by Lopes exemplifies one of the most disappointing aspects of some contemporary styles of criticism.

And even if one of them suddenly pressed me against his heart, I should fade in the strength of his stronger existence. The original poem by Helder reads: I play, I swear. It was a childhoodhouse. I know how it was an insane house.

Não Temerei Nenhum Mal, 2

I would stick my hands in the water: I would fall asleep, I would re-remember. Mirrors would crack against our youth. When asked about the autobiographical overtones in his book of short stories. Os Passes em Volta, Helder stated: Many years ago, Helder offered a journalist the following rhetorical advice: Falk to a child.

Some time ago, a child told me: Is it unintelligi- ble myself being green and the child being orange? But I comprehend it. Those who do not please go away. Looking at themselves in mirrors, as night moves further, children appear with the horror of their candor, children that are fundamental, big, watchful children — singing, thinking, madly sleeping. The suspicion that the dead — a theme that in Helder has comforting, positive, connotations — interfere and collaborate in the lives of the living is more than just curiously common in Poesia Toda — it is a defining recurrence in this poetic universe: Both worlds share a strong magical dimension.

I have heard that the dead breathe with transformed lights their eyes are as blind as blood, this one ran away from me, terrified, the dead must he pure. I have heard that they breathe, they run across the dew, and then they lay down. They are sweet equivalencies, lights, pure ideas.

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Scenes of con- frontation between the poetic subject and God are far from being occasional. This cosmic rivalry is, nevertheless, not a balanced one. Basic children turn me into a raging rose and they throw it against the mouth of God. The poet goes so far as announcing: The power of the poet derives, in part, from the power of his creatures and of his creations.

Poetry is, therefore, the fittest weapon to be used against the greatest possible enemy — the one that cannot be defeated: It is necessary that God free himself from my fabulous gifts [as a poet]. God has a double identity in Poesia Toda: And he dies and passes from one day to the other. We are before another scene in which a jubilant poet defeats a vulnerable God: These three Helderian themes — three among many more that are possible in Poesia Toda — have one thing is common.

They possess an undeniable dimension of sublimity — which, historically, has been in close association with supernatural representations Voller Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the sublime; that is, it is productive of the strongest emotion which the mind is capable of feeling.

The intense, paralyzing emotion — experienced by the subject and, differently, by the reader or, differently still, by the critic — is attained through the representation of a power so vastly overwhelming and unmatched by our own that it appears to be life threatening: We love what is beautiful for submitting to us, lor being less than we are; we react with dread and awe to what is sublime because of its appearing greater than we are, for being more, and making us acknowledge its power. On poetry A particular mythicization of poetry is at work in Poesia Toda.

A myth that is, nowadays, strangely cultivated by critics themselves, as noted earlier by Fish. Helder de- legitimates the critical act, which is, to him, incorrigibly illicit or, at least, inherently suspect. Critical commentary is always an act of violence commit- ted upon the literary work: The poem is centered in itself, monstrously solitary? It is not in a hurry, it can wait to be taken out of its isolation, it possesses enough expansive forces, take it out of there. Yet, either you take it whole, with its center in its center, and harnessed all around as a living body or you do not take a thing from it, not even a fragment.

And what one often does do is smuggle pieces of it: Where is its body and where is its life and its integrity? Where is the solitude of its voice? Because it is mandatory to say this: To read a poem is to be capable of making it, of re-making it. In the following passage he is showing an obvious nostalgia for Romantic, pre-mod- ern times. As he denounces the enemies of the poet — which are also, naturally, his own enemies — the excerpt provides us with a Poetics. Meanwhile they all turned to: That which is not searched but found is over, that which is magically and ardu- ously and profoundly found, that is over.

This is not the time to praise poets that declare: Expel them from the Republic. Success, in particular, can be dangerous. One should he available to disappoint those who trusted us. Disappointing them is guaranteeing the move- ment. The confidence that others have in us is entirely theirs.

Mulher Rendeira – “The Bandit of Brazil”

What concerns us is another kind of confidence. I he fact that we are irreplaceable in our adventure and that no one will pursue it for us. Writing about another Portuguese poet, Edmundo de Bettencourt, Helder praises the fact that, at some point in his life, Bettencourt stopped writing when he felt that Portuguese society — then under the New State dictatorship — no longer offered him conditions to pre- serve his integrity as a poet. Helder praises the fact that Bettencourt was being faithful to his own mission. Humbly I weave my grateful words Over the beautiful ferocity of your flesh, I raise my cup, I listen to the hidden rumor of the fountain.

Romanticism and Modernism; the meeting of both movements, this in-between point, is exactly the place — or the non-place — where some of the great visionaries have thrived. Very few comparative observations on the two authors were ever published. A text by the late poet and critic Luis Miguel Nava is among the few that compare the two authors. Nava once said that, similarly to what Pessoa had represented in the time of Orpheiu both Ruy Belo and Fierberto Fielder constituted important land- marks beyond which the landscape radically changed.

In different ways, both Ruy Belo and Fierberto Fielder represented the convergence and the matura- tion of a host of different tendencies that originated in previous generations Nava Both Helder and Pessoa lived during periods that were later considered crossroads in Portuguese letters. Both authors — in various ways, and to vary- ing degrees — have inHuenced all of the generations that followed their own.

He even invented a poet who, wrote as one of our most unlikely bards — the unsophisticated, barely literate, Alberto Caeiro, the shepherd. Pessoa granted literary dignity to the exceed- ingly human, to the embarrassingly human: His poetry pursues and celebrates the de-humanization of the poet, the isolation of the poetic subject, his incommunicability. Pessoa wished to implement, in a sense, liter- ary democracy. Helder is exactly at the opposite end of the spectrum. Helder is an elitist, an aristocrat as far as his poetic materi- als are concerned: What appears as SLibjective emptiness in Pessoa is equivalent to excessive, celebratory, defiant identity in Helder.

A super-assertive, highly self-centered personality contrasts with a fragmented, multiplied or emptied subjectivity. As is well known, Pessoa once prophesized the advent of a poet who would surpass Camoes in cultural and national importance. This poet would appear one hazy morning in the Portuguese Republic of Letters and rescue its literattire from the threat of insignificance. One may argue that Helder is here building his own Super-Pessoa prophecy.

Names like Camilo Pessanha, Angelo tie Lima, Sa-Carneiro and Fernando Pessoa will he used to indicate what degree of modernity had already been achieved among us. One needs to be between two moral worlds in order to transgress the rules of one of them; in order to be accused of the sin of insincerity. Might sincere souls be lake me, without knowing it? Before the lie of emotion And the fiction of the soul, I cherish the calm it gives me To see flowers without reason Flowers without a heart.

Fielders poet displays the haughty humanity of a demigod in the same way that angels and demons share human traits with humans without being human. Fiis domain — the magical — is that of the non-human and that of the non-real. There are no tobacco shops in these otherworldly landscapes and, if there were, their owners would certainly — frighteningly — not be smiling by the door.

The anthology was immediately heralded as a representative sample of the main poems and poets of the twentieth century in Portugal. The book — due to the ambitious nature of the project — had an unusually important impact beyond the community of critics and academics. A protest over the exclusion of one poet — Manuel Alegre — was made by one parliamentary group; the entire event drew considerable national media coverage and lively debate in differ- ent national venues.

In each new edition, major revisions and changes were introduced by the author — to the point of causing dilemmas in the critical community as to which edition should be used when ana- lyzing a particular poem. Nevertheless, ignoring the perceived suggestions of the author, most critics myself included have continued to utilize the previous editions of the book as the scholarship on the author slowly evolves and proliferates. Among these are, for example: Herberto Helder is, in my opinion, a borderline case.

Dal Farra, Maria Lucia. Tamesis, ; Ladeira, Antonio. He has rejected important literary awards and monetary prizes. In his own writings and on the tew occasions when he has publicly commented on the reception of his works — he has displayed an attitude of general hostility toward the work of the critics, the publishing establishment, and the marketing of literature. On many occa- sions Helder presents his own translated excerpts of Biblical texts. Quoted from the edition vol. The last verses read as follows: The man has come out of the Tobacco Shop putting change in his pocket?

As if by divine instinct, Esteves turns around and sees me. A Node do Mundo. Solitude and the Sublime: Romanticism and the Aesthetics of Individuation. Is There a Text in this Class? The Authority of Interpretive Communities. By Antonio Jose Porte. Os Passos em Volta. Ou 0 Poema Continuo. Publico [Lisbon] 4 Dec. Osvaldo Manuel Silvestre and Pedro Serra.

Ana Harherly e Silvina Rodrigues Lopes. Estudos sobre Eernando Pessoa. Macedo, Helder and Ernesto Melo e Castro, eds. A Obra e o Homem. Um Silencio de Bronze. A Regra do Jogo, A dualidade e os misterios. The Perninine in the Poetry of Herberto Helder. Pinto do Amaral, Fernando. Leishman and Stephen Spender. His dissertation is on poetic subjectivity in Herberto Helder. He has published articles on twentieth-century Lusophone literature in Seculo de Ouro: His current research interests include con- temporary Luso-Brazilian poetry and fiction and Portuguese-American literature.

He has also published two books of his own poetry. Os Passos em Volta de Herberto Helder, publicado pela primeira vez em , e o unico volume de contos numa obra predominantemente poetica. O modo discursivo por excelencia destes contos e o ironico. Eu sugiro que estes dois factores inviabilizam as estrategias de leitura monologicas atras mencionadas.

Na sua monumental historia pessoal, o fracasso de instituiu-se como inkio em maturidade de uma poetica radicada na inevitabilidade do dizer e do fazer poeticos. Abandonando progressivamente a escrita em prosa, on relegando-a definitivamente para as colecq: Para exemplificar a sua teoria, o homem ironico alude a historia do medico que Ihe receitou remedios para a loucura, e a do homem velho que, apesar de nao ter ja muito que esperar da vida, nao prescindia do amor, e entao amava as flores.

Enfim, nao seria isso mais nobre, digamos, mais conforme ao grande segredo da nossa humanidade? Aplico-o a noite, quando acordo as quatro da madrugada. As vezes uso o processo de esvaziar as palavras Pego numa palavra lundamental: Amor, Doenga, Medo, Morte, Metamorfose. Digo-a baixo vinte vezes. A ironia aparece intimamente ligada a um conceito tambem composicional em Herberto Helder: O pintor, mais do que o filosofo, e interprete do principio transcendente com o qual o homem comunica atraves da arte. A verticalidade do ponto de vista e entendida como a que mais fielmente representa o real a paisagem por ser a unica capaz de o contemplar atraves de varias perspectivas.

Herberto Helder ensaia assim nestes textos uma poetica do realismo que decorre nao so da constante auto-reflexao da pratica artistica, mas que pretende ser igualmente uma tomada de posigao na polemica que desde os anos 40 opunha neo-realistas, presencistas e surrealistas. A questao que se Ihe coloca e a de traduzir essa mesma realidade para o quadro respeitando a sua natLireza mutavel. Era a lei da meramorfose. Compreendida esta especie de fidelidade, o artista pinroii um peixe amarelo. Da concep ;ao aristotelica do estilo como instriimento passamos para Lima concep j: Recordo que e nos anos 60 que Lacan, influenciado pelos surrealistas, define o real em termos de trauma.

O estilo de Warhol aproxima-se da teoria herbertiana que temos vindo a debater: Nestes casos, o sentido deriva da repeti ;ao. Essa e a estrategia de salvaq: O poema consegue o vazio que Deus habita Diogo E neste ponto qtie Silvestre situa o drama das neovanguardas: A ironia como metodo tern em Kierkegaard o seu cultor etico por excelencia. Para este filosofo, a ironia nao e apenas um momento de negatividade necessario Hegel , mas representa o inicio da SLibjectividade.

E se identificamos em Herberto Helder grande parte da gramatica do Surrealismo, a conHuencia do modernismo tardio com a logica das vanguardas resultou numa Riga a escola contrapondo-se a ela uma solidao auroral oti uma mitologia pessoal Diogo Solidao auroral ou mitologia pessoal indicam uma instancia intra-literaria, formada no texto ou na obra, de maior impacto em textos liricos, isto e, naqtieles textos que exp5em uma experiencia Rmdada ntim Eti. A poesia encontra-se assim no centro da experiencia literaria como a forma que mais claramente afirma a especificidade do dominio do literario Culler Esta e a problematica de que me ocupo em seguida.

A proximidade entre estes textos, stibordinando-os no entanto a matriz lirica, favorece uma coesao textual que passa por uma coesao da instancia enunciativa. No mesmo ano em que Roland Barthes proclamava a morte do Autor , Herberto Helder prometia-se ao silencio. Parecendo que coincidiam os animos destrutivos, eles encontravam-se na verdade em campos bastantes distantes.

No entanto, o decreto de Barthes abalou estruturas que nao podem ser destruidas, como provam os discursos de minorias que sempre se aprestam a recuperar a figura do Autor, ainda que recusem um modo autoritario de garante do sentido. A razao para este aparente paradoxo reside na impossibilidade de fazer desaparecer as posigoes de sujeito: Pretendo agora articular estas questoes com a obra de Herberto Helder.

In Portugal, that spice is usually paprika. Sadly, unfortunately. The literal translation could be 'With a lot of sorrow from me'. Marcar, ex: queres combinar um cinema comigo? Apertar: to squeeze. This expression refers to when something starts to push, something else happens as a result. A Portuguese Christian tradition that consists of visiting the house of those who want to receive it with the Crucifix of Christ on Easter day. Committed to someone so, in a relationship or to something such as a project.

May refer to an apartment in a large apartment building condo or a condo association. Renowned, memorable. In a religious sense, it also means to make sacred or to dedicate to a religious purpose. The direct English translation is 'consecrated'. To repair, to fix up. Common to both European and Brazilian Portuguese, even though EU Portuguese speakers might tend to prefer other synonyms, such as 'reparar' or 'arranjar'. Something that is criticized, questioned, that generates debate or controversy. To cut something in circular slices.

Traditional cooking from Azores, where food is cooked underground for hours with the volcanic heat. Boiled not to be confused with cozinhado, which is the word for cooked, or with cosido with "s" which means sewed. An endearing way of saying that someone is growing up and can start bearing more responsibility. The word is used in several contexts, from mohawk hairstyles to the combs of roosters and other birds. Totally casual and typically used very expressively. An expression often used for small change, which can't be used for much other than a cup of coffee or other very affordable products in Portugal.

Literally, 'from the land', but more adequately translated as 'from the countryside'. To hit someone in the face. Literally: Turn around the big billiardsOne of the oldest european portuguese expressions meaning to go nag someone else. Literally, 'with a tight heart'. The idiomatic translation would be 'with a heavy heart', something people feel when they're sad or worried. A French loanword which can be translated to gradient in English and 'gradiente' in Portuguese.

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  5. Bofe' is a colloquial term for lungs but not commonly used , and the expression can be translated as 'lungs coming out of the mouth'. A way of saying that someone is exhausted and breathless. Conquests made by the Portuguese nation in voyages and maritime explorations. Literally translated as 'Tell them some good stuff'. It means telling someone off. Acute pain. Literally, 'it's our face'. Describes something that people really like or relate to, much like the English expression 'this is so me'. Usually, an exaggerated way of saying that something is old or outdated although it can also be used literally.

    Used when a date is uncertain. Literally, 'it's a relief'. Better translated as 'It's a pleasure' or even, 'It's such a pleasure'. A common expression to describe something that is greatly enjoyed or appreciated. Generally speaking, 'figo' means fig. Bed duvet. This Portuguese word evolved from the French word 'edredon'. A common filler or interjection with very variable meanings. Literally, 'to fill sausages'. This popular expression refers to killing time or having nothing to do. This is the correct way to use the pronoun "lhe" for the simple future tense.

    A way of saying that someone is naughty, sassy, bold or daring. It can be mildly endearing or have a negative connotation. Very informal. The currency that was in use in Portugal prior to the introduction of the Euro. Expression used to describe someone who is really smart. To stretch casually, for example, after waking up so, unrelated to fitness workouts. It's used to ask someone to get to the point of what they're saying. It can also mean forgotten, the past participle of the verb to forget.

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    In context, it means 'money is tight'. Also applicable to other struggles, such as running out of time to complete a task. To be waiting for The preposition 'que' makes it necessary to conjugate the following verb in the present subjunctive. To tease or mess with someone.

    Generally playful, but can also be meant as a rude provocation. An expression with very variable meanings, but typically referring to struggling with something like finding a solution to a problem or to be desperate for something like needing a bathroom urgently. In Brazilian Portuguese, 'constipado' does mean constipated, as in English, while the common cold is a 'resfriado'. When applied to services or products, it means to be sold out or out of stock. When applied to people, it means to be exhausted or burned out. An expression comparable to 'I almost thought that A self-referencing expression that would literally mean 'this friend of yours'.

    Similar to the English expression 'yours truly'. Dazzling, incredible, dizzying. An adjective applicable for anything that leaves you stunned, in a good way,. National route, one of several road classifications within the Portuguese road network. A word taken from another language and integrated into Portuguese language in its original form. A town in central Portugal, which became the country's and one of the world's main destinations for Catholic religious tourism and pilgrimage after an alleged series of apparitions of the Virgin Mary in It's the informal way of introducing a favour, "please" or "if you could", in portuguese the polite way is "por favor" but many people use "se faz favor".

    You will also hear it slurred together like "faxavor", which is slang.

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    Literally translates to 'Does Everything'. To do what someone wants you to do, to humour someone, to give in to them. Literally, to 'make tourism', i. A Portuguese expression, which borrows, but then misuses the English word 'pressing'. It's supposed to mean pressuring someone to do something. Doing odd jobs, one-off paid services, as a way to make some extra cash. Guarantor, someone who guarantees to pay off a debt for someone else if the person fails to do so. Expression used to describe a song or melody that is catchy, or memorable, and easily gets stuck in the head.

    To stay cool, fresh, as in someone who manages to avoid feeling hot in a warm day. To be on the house - when a commercial establishment offers something for free. Traditional Portuguese Christmas dessert, consisting of fried dough balls. The individual units of a building in the context of real estate. The same word is used to describe mathematical fractions. Special sandwich containing various meats and topped with melted cheese and sauce.

    Bangs or fringe. The term is applicable to both male and female hairstyles. Common term for edible fruits, albeit scientifically inaccurate. In Portuguese, the proper translation for any fruit in general, literal or figurative, is 'fruto' or 'frutos' e. But edible fruits in particular are generally called 'fruta' or 'frutas'. This isn't applied to all fruits - tomatoes and cucumbers, for example, are generally treated as plain vegetables by laypeople.

    An easy way to tell if a fruit should be called 'fruta' is to think if your first instinct would be to grab it and eat it as is it's probably a 'fruta' or to add it to a salad or cook it it's probably not a 'fruta'. While the literal translation is "dried fruits", the term actually refers to nuts in general. Dried fruit would be called "fruta desidratada". Galician, an official language in the region of Galicia, in northwestern Spain, right above Portugal.

    The language is closely related to Portuguese. The Rooster of Barcelos, a symbol of Barcelos due to an ancient tale about a rooster that crows to prove the innocence of a pilgrim about to be executed after being accused of a crime. To make some cash. The literal translation of 'trocos' would be 'change' small coins. Calf muscles. The word itself means twins. It's also the word for the Zodiac sign Gemini. A village in the far Noth of Portugal, in the municipality of Viana do Castelo.

    More than a pseudonym, which is simply a false name used by an author, a heteronym is a full-blown imaginary alternative persona created by a writer. An island located in the Barragem do Castelo do Bode, surrounded by a magnificent landscape. Whole wheat, whole grain, when applied to food. Otherwise, the word is used just like its English relative 'integral'.

    Jealous of something. Note that jealousy in a relationship uses a different word: Ciumento. To go down the drain, down the tubes, down the gutter. Used when something goes wrong and plans are foiled. Imposto sobre o Rendimento das Pessoas Singulares - The Portuguese income tax return for individuals. Used to express disbelief and to firmly reject an idea that another person is convinced of.

    Name of a Portuguese newspaper. The names of most Portuguese TV news programs also start with 'Jornal' e. We are living together. Juntar means get together, unite, and trapinhos means clothes, when people get their clothes and stuff together in the same house. To add in other contexts it can be to get together, to gather pieces together.

    A more emphatic or interesting way of describing someone's movements. To get all greasy and dirty. The expression most often applies to eating voraciously a very appreciated meal. It's both the name of a fish and of a traditional Portuguese Christmas egg-based dessert. As a noun, it means a square public open area. It can also be used as an adjective, meaning wide. Generally, a letter. When applied to music, it means the lyrics of a song or work.

    To take off. Can be used literally, as in a flight, or figuratively, for example, to describe an evolving career. A village in the far North of Portugal, in the municipality of Barcelos. Complaints book, which is mandatory for every Portuguese commercial establishment to have. The word can be spelt with either 'oi' or 'ou' in the middle. Both variations are equally correct. Both refer to parts of hair with different colors. Regardless of this, the two terms might end up being used interchangeably.

    A popular festival, celebrated on November 11th, during which people eat roasted chestnuts and drink wine around a bonfire. A word usually applied in good nature to people, to mean a number of things depending on context, such as silly, fool, stubborn, crazy, etc. Names of Portuguese gossip magazines called 'revistas cor-de-rosa', in Portuguese , which often have female names. A type of citrus fruit which is used in Portugal to produce marmalade. Any pasta stew dish in general can be called a 'massada', a term that derives from the word 'massa' Portuguese translation of pasta.

    The most common types are made with fish and seafood and are named accordingly, e. A Portuguese payment processing app, which allows for instant purchases, money transfers between bank accounts using only the recipient's phone number, virtual credit card creation, among other features. Low-beam headlights. Shift to fifth gear. When used as a slang term, it's the Portuguese equivalent of dude, bro or buddy. A term of endearment which can be used between relatives, lovers and others.

    Mostly used by women and takes on a maternal undertone when used by older women towards younger people. A city and municipality in the far Northeast of Portugal, bordering Spain.

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    Mirandese is spoken in the region. Mirandese, the second official language of Portugal, spoken in Northeastern Portugal. It combines elements of Spanish and Portuguese. Literally, it means kid. When it is used to express size, it means small. The general translation would be 'children' or 'kids'. It may also mean 'offal' meat. Modernism, a cultural and philosophical movement that spanned the late 19th century and the early 20th century. Mohican, as in the tribe, or mohawk, as in the hairstyle. The hairstyle will often just be called 'crista'. Brazilian expression which means being in a huge hurry or rush.

    Describes something deceiving that seems better than it actually is. A variation of the previous saying. A saying that encourages people to help others become independent, instead of doing everything for them. It means to deal with conflicts head on, right as they appear, instead of 'taking them home'. An expression of surprise, disbelief or irony, depending on context. Not getting along with someone, or not coming to an agreement with someone.

    Literally 'You're not worth a bucket of squid'. Means someone's worthless. Literally translates to 'I can neither tell you nor say it to you'. An expression that conveys, for example, that something is very difficult to describe or shouldn't be described. Even if it were, at least. Sometimes, also used in the negative sense of 'not even if Examples 'Ele queria um carro, nem que fosse velho. Portuguese expression equivalent to the English expressions 'ultimately', 'at the end of the day' or 'in the end'. It can describe a qualifying phase for a sports competition or a transition point between different rounds or stages, even if more advanced.

    Air, ambience ii. A "vibe" or "appearance", ex: ar triste a sad look. An old neighbourhood in downtown Lisbon, known as one of the centers of the city's nightlife. An immersion bath, in a tub, as opposed to a shower 'duche', in Portuguese. A typical Portuguese soup, with potato, kale, and other optional, but common, ingredients, such as chorizo. Literally, 'Hey boss'. Used casually between adults, mostly men, whether or not they're actual bosses. A very large and popular shopping centre in the outskirts of Lisbon Benfica. A French term commonly used in Portugal, which refers to the starters or appetizers served before the main dishes.

    A casual and friendly way of describing someone who is exceptionally good at something, like a pro. Applicable in several different contexts, like sports, school subjects, etc. As a slang term, it's used as an interjection. It's only mildly rude and used by people of all ages. The literal meaning of the word is 'fire'. A type of coffee in Portugal, served in a tall glass witth more milk than coffee.

    Synonyms of 'brother' and 'sister'. Very casual, familiar - only appropriate for people with close relationships. Literally, a single sock. Metaphorically, a nest egg money that is saved for the future. This expression probably originated from an old habit of keeping money in old socks. The crew, the guys, the girls It can be used casually to refer to any group of people.

    Octopus 'lagareiro' style. Lagareiro is the name given to someone who works on an olive oil mill. It's referenced in the name of this dish because of the generous amounts of olive oil included in the recipe.


    On the other hand, a type of wet-cured ham, made of a processed mixture of pork cuts which is then sliced, is called fiambre. In Brazil, presunto generally corresponds to this fiambre. Literally, 'what doesn't kill you, makes you fatter'. The Portuguese equivalent of 'what doesn't kill you, makes you stronger'. Literally: having your butt washed with rose water. A very european portuguese expression, a little rude, used to describe someone who is very high maintenance.