Pensar a poesia permutante: Julio Cortázar com Arnaldo Antunes
| Ano de defesa: | 2024 |
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| 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 Uberlândia
Brasil Programa de Pós-graduação em Estudos Literários |
| Programa de Pós-Graduação: |
Não Informado pela instituição
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| Departamento: |
Não Informado pela instituição
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| País: |
Não Informado pela instituição
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| Palavras-chave em Português: | |
| Link de acesso: | https://repositorio.ufu.br/handle/123456789/41638 http://doi.org/10.14393/ufu.te.2024.5009 |
Resumo: | Thinking about permutant poetry consists of working with the idea of the game present in two basic units: one, in the novel O jogo da amarelinha by Julio Cortázar and, in the other, in the book of poems 2 ou + corpos no mesmo espaço by Arnaldo Antunes. The purpose is to analyze the possible permutations to verify the logical, syntactic and rhythmic bridges between Julio Cortázar's novel and Arnaldo Antunes' poetry, a fact that suggests scrutinizing linguistic materiality in its sweep across the border limits of the Arts, since this transit is notable in both. The intention is to respect na order that envisions a theoretical-philosophical-literary reflection on points of contact that enhance the conception of play as a seductive ingredient for freedom, seriousness and the governance of the performative mapping of the acting space – the literary city. Indicating the precision of na exchange system that connects the performance of poetry to the performance of prose means pointing out the importance of thematic blocks of studies on technical-artistic operations that were inspired by the exchange between History, Philosophy, Physics, Literature and Arts by including the word as a tool/content of the artistic object, and as a fundamental tone for na experimental field. Thus, the following questions arise: first, performance understood as acting and opening up to a new reality of reading (in which the observer is an important part of the process) can actually be considered a determining factor for the active participation of the reader? Here is the second question that complements the first: the fragmentary order, characteristic of some proposals in the Visual Arts, which highlights collages, juxtapositions and overlaps, enables the development of writing an original text and contributes to the affirmation that literature can be coextensive with other arts? The two previous questions refer to the centrality of this entire trajectory: thinking of poetry as an exchange system that makes it possible to link the relation between poetry and prose will allow the reader to recognize how the poem thinks about things, and how these things can become the mirror of a certain reality? Theoretical punctuality comes from the writers' working instruments: publications seen as indispensable elements for the study of the work and literary vision; continues to communicate with studies on the correspondence of Arts, elaborated by Étienne Souriau; Literature preceived within the limits of an experimental field, as a performance machine, by Gonzalo Aguilar and Mario Cámara; Johan Huizinga and Martin Heidegger's notions of play offer models for Knowledge with anthropological and phenomenological dignity; Gilles Deleuze/Félix Guattari, Maurice Merleau-Ponty, Vilém Flusser, Werner Heisenberg weave the basis for the relation between Literature, Poetry, Physics and Philosophy. Theories that intertwine philosophical, historical and literary performance/structure/invention/attention according to the same level of seriousness, playfulness and commitment dedicated to the cartographic setting for the game, in which the relationship between process and result will be guided by the unusual order suggested by Julio Cortázar: “jugar poesia es jugar a pleno”. |