Orides Fontela e Renata Pimentel em aproximações dialógicas: da poesia entre a filosofia e a terra.

Abstract

This dissertation undertakes a reading of the poetic works Transposição (1967 [2015]), by Orides Fontela, and Denso e leve como o voo das árvores (2015), by Renata Pimentel. The main objectives are to probe and apprehend the intersection points between the two poetics, from the dialogical character of poetry (BAKHTIN, 2020), foreseeing how the second takes the first as an element of alterity. In addition, the research seeks to mark out what each poetic determines within its domains. Fontela's poetry, in this dissertation endeavor, is seen in the imagery, symbolic, philosophical and scrutinizing plane of language by the rarefaction of the word, which allows us to circumscribe it in philosophical poetry. In Pimentel, we come across verses focused on the subtleties of the concreteness of matter and the body, via cruzos e encruzilhadas, concepts of the pedagogia das encruzilhadas related to the harmony/confluence of ancestral knowledge whose theoretical support is found in studies by Simas and Rufino (2019), which marks terreiral poetry. Methodologically, we make use of Comparative Literature, focusing on Oswald de Andrade's Cultural Anthropophagy, which is instituted, with greater emphasis, through alterity. These guiding factors are supported by Geopoesia (SILVA JR, 2015; 2020; 2021), supporting and updating the image of flâneuses and the analytical mechanism of etnoflânerie, enabling the assimilation of discursive and thought movements that the voices established in the poetics in comparison manifest. The theoretical, critical and methodological basis is based on Polyphonic Literary Criticism, which takes the entire lives of men and women, through historical and social unrest, clairvoyant in the malaise of civilizations and in the recesses of colonization (MEDEIROS, 2017). The edges of this perspective find support in Bakhtinian theory (BAKHTIN, 2002; 2020), moving neuralgic concepts to the investigation of the artistic objects measured here. We also consider the theoretical contributions of Jean Cohen (1974), Hugo Friedrich (1978) and Octavio Paz (2012) when we need to look into the subtleties of poetry. These compasses lead us to the princípios estéticos, which surround the poetic matter to respond to the malaise of culture through the word, the image and the artistic action, alluding to the multifaceted contours of art and the existential conditions of suspension, fragmentation, restlessness and confrontation history of individuals.