Hilda Hilst e o canto amoroso em mitos, imagens e símbolos

• Ano de defesa: 2009
• Autor(a) principal: Moura, Karyne Pimenta de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; BR; Programa de Pós-graduação em Letras; Linguística, Letras e Artes; UFU
• Palavras-chave em Português: Hilda Hilst; Canto amoroso; Mitos; Imagens; Símbolos; Hilst, Hilda, 1930-2004 - Crítica e interpretação; Poesia brasileira; Mito na literatura; Love call; Myths; Images; Symbols; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA
• Link de acesso: https://repositorio.ufu.br/handle/123456789/11794

The main purpose of the present study was to investigate, in a short story by Hilda Hilst (1930-2004), the way myths, images and symbols are used to form a Self who laments the incompleteness and for the consciousness of its fragmentation towards the Other. This Other is seen as the half which is missing in the Self; a half which, during the love call, reveals itself as being avoidable or absent. Through the analysis of the short stories, it was possible to observe the desire with which the Self dresses itself in order to interlace the Other and to invert its primary condition of discontinuity. The desire is expressed in the short love stories through symbolic and imagetic language, and the myths related to incompleteness convey the idea that love is the path through which the halves , fragmented in their double original state, tend to get united. The myth exerts itself in the symbolic elucidation of questions concerning the human condition as a whole, and the incompleteness related to love is inserted in this condition. Thus, it can be observed, in the hilstian poetics, the latent relationship between myth and poetry. Both of them, through their inherent imagetic language, strengthen the archetypes which are representative of the collective unconscious. In order to analyze the chant of the desire for what is missing, the following works were chosen: Júbilo, memória, noviciado da paixão (2001) and Cantares (2002). These works reveal a poetics whose intensity distinguishes them from other works by the same author, as the lyric voice sings the nuptials through images and symbols which are representative of a violent desire for the union Self-Other. The images and the symbols which are interpreted in the six selected poems unveil the unconscious forces related to the house, to death, to the act of thinking, to the act of weaving and to the journey. The dissertation, which was developed in four chapters, investigated the latent presence, in the poems, of the myths of Ariadne and Dionísio, Eco and Narciso, Orfeu and Eurídice, Eros and Psique, Tanatos and death in inverted meaning, Ceres and fertility, Perséfone and the conflict between clear and dark, Tântalo and the condemnation to never fulfilling his desires, Penélope and the art of weaving, and, finally, the one who carries the souls of the dead, the boatman, Caronte.