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| Author(s): |
Marcelo Castro da Silva Maraninchi
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2023-05-05 |
| Examining board members: |
Marcos Antonio de Moraes;
Ricardo Nascimento Fabbrini;
Renata Azevedo Requião;
Cristiane Rodrigues de Souza
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| Advisor: | Vagner Camilo |
| Abstract | |
This work investigates the masks, voices and gestures of Mário de Andrade's poetry. The hypothesis is that literary recitation left deep marks – still unexplored – in the authorial figuration and in the formal elements of Pauliceia desvairada (1922) and Losango cáqui ou afetos militares de mistura com os porquês de eu saber alemão (1926). Widespread at the beginning of the 20th century, both in Parnassian-Symbolist and avant-garde circles, recitation was the subject of poetics and manuals, highlighted in salons and public ceremonies, made up prestigious oral culture and was part of the formation of poets. Theoretical considerations, letters and works endowed with marginalia, in the absence of sound recording, clarify the weight of the voice for Mário de Andrade's poetic conception and practice. More than anything, the poems of Pauliceia Desvairada, within the framework of a theory of harmonic verse, sediment the art of saying in their punctuation, onomatopoeias, interjections, vocatives, epithets, melodies, scenic rubrics and in the constructive procedures of montage and collage. In addition to poems and paratexts, archival documents inform recitation as part of the work's genesis and authorial identity. The analysis of these vocal-gestural components supports an epic, distanced and anti-illusionist interpretation of poetry and Author. (AU) | |
| FAPESP's process: | 17/26782-6 - Mário de Andrade: auctorial scenography (1917-1922) |
| Grantee: | Marcelo Castro da Silva Maraninchi |
| Support Opportunities: | Scholarships in Brazil - Doctorate |