Solidão de náufrago: a poética de Claudia Roquette-Pinto nos jardins de Corola
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Data
2011
Autores
Borsato, Fabiane Renata [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
A obra Corola, de Claudia Roquette-Pinto (2000), apresenta um projeto poético consistente advindo do emprego de recursos expressivos metalinguísticos e da coesa estrutura da obra. O recurso à intratextualidade favorece a unidade e as reflexões metalinguísticas dos 48 poemas que compõem a obra. O diálogo com a tradição literária é simultâneo à consciência dos enunciadores de que a poesia de Corola é intervalar e físsil. Os 47 primeiros poemas sem título de Corola constroem forte relação de continuidade e interdependência reveladora da presença de uma “teoria” do fazer poético baseada em intempéries. O lirismo de Corola não apresenta marcas de autocomiseração em relação à situação de náufrago anunciada no último poema da obra. Os adjetivos exausto, roto, desacreditado, atribuídos ao eu poético, fazem com que ele se desdobre em outro, apreciador crítico de seus próprios ruídos poéticos e refém consciente de um tempo lacunar e intermitente que favorece a construção de uma poética da paciente espera pelo resgate da poesia e do desdobramento em leitor-espectador de si mesmo e do texto poético. Analisaremos alguns procedimentos metalingüísticos e as inquietações compositivas anunciadas pelos eus poéticos de Corola, além da recorrente figura do jardim como espaço poético.
The work Corola, by Claudia Roquette-Pinto (2000), introduces a consistent poetic project arising from the use of expressive metalinguistic resources and of its cohesive structure. Resorting to intratextuality promotes the unity and the metalinguistic reflections of the book’s 48 poems. The dialog with the literary tradition is simultaneous with the awareness of the enunciators that the poetry of Corola is intervallic and fissile. The initial 47 untitled poems build a strong relationship of continuity and revealing interdependence of a presence of a “theory” of the poetic creation based on misfortunes. The lyricism in Corola does not present marks of self-pity related to the castaway situation announced in the last poem of the work. The adjectives exhausted, torn, discredited ascribed to the poetic self, make it unfold into another, critical appreciator of their own poetic noises and a conscious hostage of an intermittent and lacunar time which favors the construction of a poetics of a patient wait for the rescue of the poetry and of the development into a reader-spectator of himself or herself and of the poetic text. We will analyze some metalinguistic procedures and compositional concerns announced by Corola’s poetic selves, as well as the recurrent figure of the garden as a poetic space.
The work Corola, by Claudia Roquette-Pinto (2000), introduces a consistent poetic project arising from the use of expressive metalinguistic resources and of its cohesive structure. Resorting to intratextuality promotes the unity and the metalinguistic reflections of the book’s 48 poems. The dialog with the literary tradition is simultaneous with the awareness of the enunciators that the poetry of Corola is intervallic and fissile. The initial 47 untitled poems build a strong relationship of continuity and revealing interdependence of a presence of a “theory” of the poetic creation based on misfortunes. The lyricism in Corola does not present marks of self-pity related to the castaway situation announced in the last poem of the work. The adjectives exhausted, torn, discredited ascribed to the poetic self, make it unfold into another, critical appreciator of their own poetic noises and a conscious hostage of an intermittent and lacunar time which favors the construction of a poetics of a patient wait for the rescue of the poetry and of the development into a reader-spectator of himself or herself and of the poetic text. We will analyze some metalinguistic procedures and compositional concerns announced by Corola’s poetic selves, as well as the recurrent figure of the garden as a poetic space.
Descrição
Palavras-chave
Corola, Claudia Roquette-Pinto, Metalinguagem, Jardim, Metalanguage, Garden
Como citar
Revista de Letras, v. 51, n. 2, 2011.