Objetos intermídia na poesia concreta de Décio Pignatari

• Autor(a) principal: Bomfim, Monalisa Medrado
• Data de Publicação: 2022
• Tipo de documento: Trabalho de conclusão de curso
• Idioma: por
• Título da fonte: Repositório Institucional da UFSCAR
• Texto Completo: https://repositorio.ufscar.br/handle/ufscar/15949
• topic: Poesia concreta brasileira; Suporte de inscrição; Objeto intermídia; Multiálogo de mídias; Poesia digital; Brazilian concrete poetry; Inscription supports; Intermedia objects; Media's multiadialogue; Digital poetry; LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA BRASILEIRA

Décio Pignatari (1927-2012) was the most irreverent one of the trio of concrete poets that he composed with the brothers Haroldo and Augusto de Campos. Pignatari boldness lies in satire, but also in the multiadialogue of media, which he experiences through the exploration of different supports in intermedia poems. Considering that Pignatari helped to found the Association Internationale de Sémitique in France, in 1969, and he followed an interdisciplinary academic pathway, it was admitted that, in relation to the media, Pignatari was the most experimental of the concretes. Therefore, this work focused on experimental poetic aspects of Pignatari through different media, thus understanding them as intermedia objects. This work’s aime was to investigate the Pignatari’s intermedia objects in its orthodox and participant phases, interpreting them in terms of technomodern, criticism and erotic elements. It demonstrated in poetic practice what Lucia Santaella already advocates in her theory, which is, concrete poetry is a precursor of contemporary digital poetry. The first stage of this work discussed the concept of intermediality, based on the texts of Claus Clüver and Ernst Gombrich; the second part prioritized the analysis from orthodox phase poems, um movimento (1956), hombre hambre hembra (1957) and caviar (1959), in written and oral supports; and the third part was dedicated to analysis from poems considered here as participant phase poems, such as beba coca cola (1957) and organismo (1960), in written, audio and audiovisual supports. The poems were analyzed regarding the new sensorial experiences provided by the practices of voice and body performance associated with the different supports experienced. This work had the intention to bring Décio Pignatari’s poetry to the field of inscription support analysis, suggesting an active dialogue with the digital contemporary.