In today's world, Mário Dionísio is a topic that has acquired unprecedented relevance. Its impact extends to all areas of daily life, from politics to popular culture, through technology and society. With the passage of time, Mário Dionísio has become a phenomenon that does not distinguish borders or barriers, since its influence crosses all types of contexts and realities. In this article, we will explore in depth the many facets of Mário Dionísio, analyzing its implications and consequences in different areas of daily life.
Mário Dionísio | |
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Born | Mário Dionísio de Assis Monteiro July 16, 1916 Lisbon, Portugal |
Died | November 17, 1993 Lisbon, Portugal | (aged 77)
Nationality | Portuguese |
Occupation(s) | Critic, writer, painter and teacher |
Children | Eduarda Dionísio |
Mário Dionísio de Assis Monteiro (July 16, 1916, in Lisbon, Portugal – November 17, 1993, in Lisbon, Portugal) was a Portuguese critic, writer, painter, and professor.[1]
A multifaceted personality – poet, novelist, essayist, critic, painter – Mário Dionísio had a significant civic and cultural impact on 20th-century Portugal, particularly in the realms of literature and art.[2]
Mário Dionísio de Assis Monteiro was born on July 16, 1916, in Lisbon.[3][4]
He was the son of Eurico Monteiro, a merchant and militia officer in the Military Administration, and Julieta Goulart Parreira Monteiro, a homemaker who had completed advanced studies in Piano. He is the father of Eduarda Dionísio.[4]
He graduated in Romance Philology in 1940 from the Faculty of Letters at the University of Lisbon.
He worked as a high school and secondary school teacher and later as a lecturer at the Faculty of Letters of the University of Lisbon, following the April 25th Revolution.[4]
Mário Dionísio was an opponent of the Estado Novo regime and had connections to the Portuguese Communist Party, from which he distanced himself in the 1950s.[4]
He was the author of an independent literary work (poetry, short stories, novels). He engaged in literary and art criticism, delivered lectures, participated in debates, and contributed to various periodicals, including Seara Nova , Vértice, Diário de Lisboa, Mundo Literário,[5] Ge de todas as Artes, and the magazine Arte Opinião[6] (1978–1982). He also wrote prefaces for works by authors such as Manuel da Fonseca, Carlos de Oliveira, José Cardoso Pires, and Alves Redol.