Eros e Tânatos na poética de Federico García Lorca e Cecília Meireles
| Ano de defesa: | 2015 |
|---|---|
| Autor(a) principal: | |
| Orientador(a): | |
| Banca de defesa: | |
| Tipo de documento: | Tese |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Federal de Minas Gerais
UFMG |
| Programa de Pós-Graduação: |
Não Informado pela instituição
|
| Departamento: |
Não Informado pela instituição
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| País: |
Não Informado pela instituição
|
| Palavras-chave em Português: | |
| Link de acesso: | http://hdl.handle.net/1843/ECAP-9U5HHP |
Resumo: | This study explores the mythical imaginary of Eros and Thanatos in the poetry by Federico Garcia Lorca and by Cecília Meireles. It aims to investigate thematic and formal relations of love and death in the symbolic reinvention of both. The myth ballast fertilizes and recovers both writers' poetries expressing psychological anguish and spiritual wonders related to desire and to finishing. In a particular way, each one of the writers creates a drama of symbols to figure love and death in their precariousness, incompatibility, and in their condition of ideality and fortune which makes unhappy and rejoices the Being. Therefore, the articulation of Eros and Thanatos, their encounters and fissures, their affinities and tensions, erect a mythopoetic of love and death which expresses motives, images and meanings. By creating other archetypes the Spanish and Brazilian poets forge two distinct situations: in one side the shock, the fight, the duel of Eros and Thanatos based on the antithesis which keeps the oppression alive; in the other hand, the union, the conciliation between love and death based on the synthesis which focuses on totality and integration. That is why the myth is alive. In human's psychological life, myths represent an emblem of different tendencies from perversion to sublimation. Furthermore, Lorca and Meireles' poetries, Eros and Thanatos' relation tends to gravitate in the extremes: from destruction to totality, from separation to integration, to finity to transcendency, from antithesis to synthesis, then, from shock to conciliation. The whole symbolism occurs by the by the comparative exercise of mythocriticism based on criticism of imaginary, such as anthropological theory of imaginary, according to Gilbert Durand's work. The theoretical instrument proposed by Durand refers to the dynamism which creates imagination and directive strength of myths in representative productions of culture of all times. Besides the subsidy of hermeneutics of symbols, this current research also reports to comparitive literature procedures and to investigative works about Eros and Thanatos developed by Georges Bataille and Sigmund Freud, the erotic impetus and the destruction impetus. Thus, the study of symbolic reinvention of love and death in these writers's poetry presents points of proximities and dissonances. Although the symbolic myth gestation brings them closer and marks boundaries of junctions, the elaboration which expresses the myth separates them. In Federico Garcia Lorca's poems, the resumption, most of the times, intensifies an impotence of the poetry within a world which disclaims it; meanwhile the archetypal matrix in Cecilia Meirele's poems estabilishes in poetic space a fragile exit facing the hostile reality by forging atemporal in ephemeral reality. |