A RECONFIGURAÇÃO DO TEMPO EM AGORA AQUI NINGUÉM PRECISA DE SI, DE ARNALDO ANTUNES

• Autor(a) principal: Corrêa, Karoline Zampiva
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do UNICENTRO
• Texto Completo: http://tede.unicentro.br:8080/jspui/handle/jspui/1212
• topic: Agora aqui ninguém precisa de si; poesia contemporânea; efemeridade; Arnaldo Antunes; Anacronismo; Agora aqui ninguém precisa de si; ephemerality; contemporary poetry; Arnaldo Antunes; Anachronism; LINGUISTICA, LETRAS E ARTES

The present dissertation’s work aims to study some poems inserted in the book Agora aqui ninguém precisa de si, of the poet, composer and visual artist Arnaldo Antunes (2015). In this book, Antunes presents a diversity of texts composed in the most varied forms, embracing from poems, concrete poems, photographs and visual arts. Therefore, for this moment, texts that refer to time, in particular, to anachronistic and ephemeral time have been chosen. The research is divided into three chapters. In the first, "Time Reconfigured: Anachronism in the Poetry of Arnaldo Antunes", four poems of São Paulo’s poet are analyzed from an anachronistic perspective, since these poems relate to other texts from different eras. The second chapter of this work, "The nuances of time: the ephemeral and the transitory", works over time from ephemerality, seeking to show its relation to insignificant elements. Five other poems by Antunes were selected, for the cover and back cover of the book. In the last chapter "Poetry written with light: the play of the Baroque in Arnaldo Antunes", three poems of the book are analyzed, in relation to three other poems / images contained in the exhibition Luzescrita (2013), which of Antunes is one of the participants. In this chapter, the proposal is to compare these images, showing their relationship with the Baroque and the memory, which always leaves a trace. As theoretical framework, the theoretical assumptions of Georges Didi-Huberman, Giorgio Agamben, Walter Benjamin, and Charles Baudelaire, among others, are used.