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| Author(s): |
Maura Voltarelli Roque
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Estudos da Linguagem |
| Defense date: | 2019-05-10 |
| Examining board members: |
Eduardo Sterzi;
Raul Hector Antelo;
Roberto Zular;
Paula Ferreira Vermeersch;
Davi Pessoa Carneiro Barbosa
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| Advisor: | Eduardo Sterzi |
| Abstract | |
This work aims to think of Nymph's figurations in modern and contemporary brazilian poetry. Studied by names such as Giorgio Agamben, Georges Didi-Huberman and Aby Warburg, Nymph is, first of all, a theoretical character who embodies or represents the fundamental concepts formulated by the German art historian Aby Warburg. Among them, are the idea of Pathosformel (pathos formula ) and that of Nachleben, the posthumous life of images, thought by Warburg from the survival of the gestures of antiquity throughout western culture and expressed in one of his major projects, the images atlas that he called "Mnemosyne". From the aesthetic and temporal complexity of an image like the Nymph, we try to think how much this mythical figure disarranges the usual narratives of the history of modern brazilian literature, allowing us to see unsuspected links between the modern and contemporary moments, on the one hand, and previous moments, especially that period that was known, for lack of a better name, as "pre-modernism". In other words, where the literary historians marked by the discourse of modernism see (or hope to see) mainly ruptures (between the literary culture of the nineteenth century - which we may call a literary culture fin de siècle - and that of the twentieth century), we can see, before, recurrences, intermittent continuities, links of times, that point to a less linear and more symptomatic poetic historiography. Nymph proposes to us, in this sense, a trans-historical model that implodes the walls, the schemes, the styles, the identities. In the place of well-resolved works, finished in themselves, we propose to understand works such as that of Manuel Bandeira and João Cabral de Melo Neto, and, towards the contemporary moment, works such as that of Donizete Galvão and Carlito Azevedo, as complex works, wandering, convulsive, that disturb the chronological time and create another temporality made of anachronisms and survivors. It is worth mentioning that what we call a fin de siècle literary culture is recovered in this work because we recognize in art nouveau and in its aesthetic of desire the moment in which the Nymph, understood as a feminine form in movement, again rejoins the surface, arriving at the beginning of the twentieth century as a form survivor of the past and, at the same time, a historical index of its time. The symptomatic presence of Nymph in brazilian poetry also allows us to think about how this ambiguous, unapprehensible image, which is constituted of an assembly and a tension of opposing powers, being at once evanescent and corporeal, innocent and deadly, impassive and erotic , has to tell us about the tensions that go through our poetic historiography. In the same way, as a "surviving image" that does not cease to flow and reflow, staging innumerable metamorphoses (Florentine servant, dancing Salome, protective angel, delirious ménade, Roman Victory, impassive Vênus), Nymph incarnates in herself the capacity of poetry to resist and to reinvent itself in this age hostile; to be, like the Nymph, the one who lives after death, a kind of ghost of time (AU) | |
| FAPESP's process: | 14/26991-6 - A poetics of nymph: appearances in modern and contemporary Brazilian poetry |
| Grantee: | Maura Voltarelli Roque |
| Support Opportunities: | Scholarships in Brazil - Doctorate |