This study aims to analyze the motivations and ways that led Mario Cesariny to continually approach Teixeira de Pascoaes to surrealism in Portugal. We know that Cesariny, in interviews and texts, recorded the importance of a critical reappraisal of Pascoaes's work. In the 70s, he will organize and assist Pascoaes anthologies on the reissue of the author's work. While reviewing the work of Pascoaes, Cesariny processes in poetic dialogues, parodies and intertextualities the 'demystification' of Fernando Pessoa. This revisionism that had encouraged Cesariny it's up to us, the readers of his work, to analyze. If on one hand there seems to be a legitimate aesthetic encounter between Pascoaes and Cesariny, freed Pascoaes from the yoke of 'nostalgic' and 'fin de siecle', there are also hints of an anxiety of influence, as Harold Bloom has named his 'theory of poetry'. What is up to us to investigate are the motivations that led Cesariny to Pascoaes, brought back to the scene poetic-critical, through surrealism, and also the ways in which this happened: through a poetic revisionism, in which texts dialogued, and/or the worship of Pascoaes's poetic figure.
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