This work aims to analyze how the edition procedures take place in the construction of the author's identity in Da poesia, volume of complete poems of Brazilian writer Hilda Hilst. It is assumed that the Hilstian author's "image", established in this work by the edition procedures, is potentially different from the one deduced by interviews, poems and some critic texts that compose Da poesia. In the "editorial discours", the actor Hild Hilst is designed as "the farmer's daughter from the Paulista countryside", writer of a "vast" and "serious" work; whereas in the poems and letters the discoursive organization points to an author's identity based on a isotopy of "polemic" composed by themes like feminine desire, homosexuality, amongst others. Thus, the Hilstian author's identity, created specifically by the edition procedures of Da poesia, would assume the condition of an antithetical discourse erected before this "polemical" identity which, supposedly, the edition procedures attempt to attenuate. In order to prove this hypothesis, it is intended to identify the "marks" that the "editor" leaves in the enunciated enunciation of Da poesia (edition notes, for example) and, then, reconstruct the editorial process as a predicative scene (functions, roles, positions, etc) from which the Hilstian identity is constructed. To do so, the theoretical-methodological resource will be the one of French Semiotics, specially: (i) the model of relevance levels of the semiotic analysis, designed by Jacques Fontanille; (ii) the model of generative trajectory of meaning, by Algirdas Julien Greimas and Joseph Courtés, and others (iii) postulates of visual semiotics found, mainly, in the work of Jean-Marie Floch.
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