“Viúvas de Ana C.”: enjambement, mulher e tradição na poesia brasileira contemporânea

• Ano de defesa: 2022
• Autor(a) principal: ESTIPHANO, EMANUELLE DE QUEIROZ OLIVEIRA
• Orientador(a): Valdati, Nilcéia
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Estadual do Centro-Oeste
• Programa de Pós-Graduação: Programa de Pós-Graduação em Letras (Mestrado)
• Departamento: Unicentro::Departamento de Letras
• País: Brasil
• Palavras-chave em Português: Poetas brasileiras contemporâneas; Enjambement; Poesia-mulher; Tradição-tradução
• Palavras-chave em Inglês: Contemporary Brazilian poets; Enjambement; Tradition/translation; Woman-poetry
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES
• Link de acesso: http://tede.unicentro.br:8080/jspui/handle/jspui/1897

This dissertation aims to verify how the poetics of Alice Sant’Anna, Angélica Freitas and Marília Garcia reverberates, in a relationship of affection and alterity, the poetics of Ana Cristina Cesar. In this way, we selected some poems from the composition Poética (2013) by Ana C., and from the books Rabo de baleia (2013) and Aula de Natação (2018) by Alice Sant’Anna, Rilke shake (2007), Um útero é do tamanho de um punho (2012) and Canções de atormentar (2020) by Angélica Freitas, and the poem “Blind light” from Um teste de resistores (2014) by Marília Garcia. In our analysis, we highlight three central poetic events: enjambement, woman-poetry and tradition/translation, and we observe how they are performed as “between-places” of/in contemporary Brazilian poetry. We consider that the way in which Sant’Anna, Freitas and Garcia read and are affected by Ana C.’s poetry, place them in dialogue and confrontation, which echos in the poetic writing. By retaking the enjambement, the woman and the tradition, in the in-between place of affinities and disaffinities with Ana C., we place the poetry of three “widows” in a singular, and even unspecific, relationship between language and voice. Reception and criticism studies such as those by Silviano Santiago (2000), Heloisa Buarque de Hollanda (2018) and Luciana di Leone (2014), as well as reflections by Giorgio Agamben (1999), Florencia Garramuño (2014), Susana Scramim (2016), among others, corroborate the construction of the present study.