Pelos lumes do logos: da musa e do verbo no livro de sonetos de Jorge de Lima

• Autor(a) principal: Clemente, Fabrício Carlos
• Data de Publicação: 2021
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/0013000006mdb
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/11454
• topic: Jorge de Lima; Soneto; Poesia brasileira; Modernismo; Ars erotica; Jorge de Lima; Sonnet; Brazilian Poetry; Modernism; Ars erotica; LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA BRASILEIRA

This thesis aims to investigate, in Livro de Sonetos (1949) by the Brazilian modernist Jorge de Lima, a writing process in which the deliberately perverse and unaesthetic use of the fixed form would take place as a space for play and/or battlefield between the western logos and a "antilogos" (DELEUZE, 1998), between discourse and counter discourse. Therefore, it should be considered a certain dismantling of the rational-syllogistic order of the sonnet itself (as organizational support and mask built by subjectivity), thanks to the logical-formal drift provided by the musical, imagery and dialogical aspects with which the rigid structure of fourteen verses flirts. Such a drift would be triggered by the work, between hidden and evident, of this other logos within the logos. In a Nietzschean approach to form (NIETZSCHE, 2010), the apolline exudes from its pores a certain dionysian extract without which it could never become significant. Thus, it is assumed that the embarrassment of tradition is especially favorable to psychic automatism, creative delirium and spontaneity, giving rise to an experimental and improvising writing of unusual discoveries, rhythmic-sounding and imagery encounters, in a perspective analogous to the automatic writing of surrealism. This assumption, although it proposes a certain refusal of the technique, is based on the French authors of OULIPO ("Ouvriers de Littérature Poténcielle"), as well as on Timothy Steele (1990), an American poet linked to the contemporary appreciation of meters as a form of expression and knowledge. In this way, the sonnet would be, in Jorge de Lima's book, a microcosm that favors lyrical and dramatic tension through which a multiple and errant subject wanders. This subject is constituted as such by playing with the power and artificiality of the laws of logical discourse, surprising them in the mathematics of style as an anarchic sound in which forms succeed each other and perpetuate themselves in incessant becoming. It is proposed, in this perspective, approximations to ideas such as versification as staging and veiled transgression, taken from the Russian poet Velimir Khléibnikov (1987), thus observing the image of the persona-reader as the tragic protagonist of pure poetry or absolute literature (CALASSO, 2004). The theoretical and critical assumptions to support the approach make use, especially, of notions such as Michel Foucault's literary space (2016), Deleuze's "antilogos style" (1998). This approach, also supported by Henri Meschonnic (2009), seeks to undertake an anti-metrical critique of the institutionalization of the modern. Heterodoxly, the philosophical foundations of this criticism are based on authors such as Byung-Chul Han (2015), Martin Heidegger (2012) and also on Michel Foucault. In this sense, the theoretical impetus observed in Livro de Sonetos is seen as a manifestation of an ars erotica (FOUCAULT, 2007), beyond the delimitations of the discourse of the literary institution. In a drama analogous to that outlined by Gottfried Benn (1983), in which the persona is in heartbreaking conflict with his time, Jorge de Lima, poet, doctor, politician and writer, would stage the drama of the intellectual of his time, especially the drama of the Brazilian writer debased by the dullness of a scientific and positivist social situation: patriarchal and averse to the most emancipatory aspects of modernity.