Detalhes bibliográficos
| Ano de defesa: |
2010 |
| Autor(a) principal: |
Santos, Ana Paula dos |
| Orientador(a): |
Oliveira, Maria Rosa Duarte de |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
|
| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
|
| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Literatura e Crítica Literária
|
| Departamento: |
Literatura
|
| País: |
BR
|
| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/14651
|
Resumo: |
This present research has as its main objective to analyze the work Água Viva , from Clarice Lispector as a writing made of impressions that oscillates between poetry and prose. The research question which has instigated was in which measure this impression writing was close and also different from the impressionist Brazilian prose from the end of 19th century? The hypotheses that leaded the investigation were, in the first place, that its propulsive strength was trying to search for a conflict solution in the poetic creation base: the inevitable mediation between words and things; In the second place, that this difference was the invention of an impression writing that is able to catch the present-instant through words that invest against the representation and operate as live things, which happens in a kinesthetic correlation among sound-image-sense of a short break in a fast apparition. The hypotheses analysis was done in three chapters: in the first, the focus was the genesis of Água Viva in a Screaming Object, besides the criticism work analyzed through a poetic language optic. The second has covered two aspects: the impressionist prose elaborated in Brazilian literature in the end of 19th century and the theoretical basis of this impression writing using authors like: Paul Valery, Ezra Pound , Octávio Paz, Barthes and Décio Pignatari; the third one consists in the analysis of Água Viva as a strength field between poetry and prose, very similar to a stave where sound, image and word cross each other, vertically and horizontally, reverberating in a mass of sensations from three structural focuses: the I and the writing scene in the water trajectory; the instances of You ; time-space: the circle and the line. We came to a conclusion that Água Viva, interpreted from the impression writing perspective, has received a new dimension that is able to illuminate the meaning of a text that has resisted any traditional genre classification |
