O discurso metapoético em Barulhos e Muitas vozes, de Ferreira Gullar
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2018-09-06
Autores
Mota, Ana Carolina da Silva
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Universidade Estadual Paulista (Unesp)
Resumo
O presente trabalho realiza uma leitura do discurso metapoético presente nos livros Barulhos (1987) e Muitas vozes (1999), do poeta maranhense Ferreira Gullar. Ao observar a trajetória de Gullar, percebe-se que a concepção de poesia e de fazer poético expressada por ele nos últimos trinta anos de vida literária em muito difere das díspares concepções identificadas em sua obra entre os anos cinquenta e setenta. Assim, interessou-nos investigar, à luz da fortuna crítica dedicada à obra do poeta e de considerações feitas por ele mesmo sobre a própria obra e o caráter do discurso poético, as noções de poesia e fazer poético, as quais são indissociáveis, dentro do universo de Barulhos e Muitas vozes, dos termos “espanto”, utilizado para definir a experiência de encontro, no mundo concreto, com a matéria poética, e “voz”, a qual se associa à linguagem humana e à imagem da sobreposição (do tempo, das experiências, do diálogo com o outro). Assim, após expressar, em seu livro de estreia A luta corporal, o desejo de uma linguagem que tocasse o absoluto e por meio da qual mundo concreto e expressão poética se fundiriam, posteriormente envolver-se com o experimentalismo do concretismo e neoconcretismo e, já nos anos sessenta, engajar-se politicamente, fazendo de sua obra um espaço para a defesa da função da arte enquanto agente de transformação social, ganha corpo no discurso poético de Ferreira Gullar a concepção de linguagem poética como ato de comunicação, a qual ecoa em si a alteridade e com ela dialoga.
The present study makes a reading on the metapoetry narrative present in the books Barulhos (1987) and Muitas vozes (1999), by poet of Maranhão Ferreira Gullar. When observing the trajectory of Gullar, it can be see that the conception of poetry and of poetic expression he expressed in the last thirty years of literary life differs greatly from the disparate conceptions identified in his work between the fifties and the seventies. Thus, in the light of the critical fortune devoted to the poet's work and his own considerations on the work and character of poetic discourse, we were interested in investigating the notions of poetry and of making poetic, which are inseparable within of the terms "astonishment", used to define the experience of encounter in the concrete world with poetic matter, and "voice", which is associated with human language and the image of the overlap (of time , of the experiences, of the dialogue with the other). Thus, after expressing the desire for a language that touched the absolute and through which concrete world and poetic expression would be merged, later in his debut book, A luta corporal, he would later become involved with the experimentalism of concretism and neoconcretism and, already in the sixties, to engage politically, making his work a space for the defense of the function of art as an agent of social transformation, the conception of poetic language as an act of communication is echoed in Ferreira Gullar's poetic discourse, which echoes in itself the otherness and with it dialogues.
The present study makes a reading on the metapoetry narrative present in the books Barulhos (1987) and Muitas vozes (1999), by poet of Maranhão Ferreira Gullar. When observing the trajectory of Gullar, it can be see that the conception of poetry and of poetic expression he expressed in the last thirty years of literary life differs greatly from the disparate conceptions identified in his work between the fifties and the seventies. Thus, in the light of the critical fortune devoted to the poet's work and his own considerations on the work and character of poetic discourse, we were interested in investigating the notions of poetry and of making poetic, which are inseparable within of the terms "astonishment", used to define the experience of encounter in the concrete world with poetic matter, and "voice", which is associated with human language and the image of the overlap (of time , of the experiences, of the dialogue with the other). Thus, after expressing the desire for a language that touched the absolute and through which concrete world and poetic expression would be merged, later in his debut book, A luta corporal, he would later become involved with the experimentalism of concretism and neoconcretism and, already in the sixties, to engage politically, making his work a space for the defense of the function of art as an agent of social transformation, the conception of poetic language as an act of communication is echoed in Ferreira Gullar's poetic discourse, which echoes in itself the otherness and with it dialogues.
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Ferreira Gullar, Metapoesia, Espanto, Barulhos, Muitas vozes, Metapoetry, Astonishment