A semovência da poesia da Amazônia

Abstract

Poetry is not fixed, it crosses and is crossed by the movements of texts and cultures, it slides through and with the Visual Arts, Literature, Music and Scenics. As a condition of his existence, man uses language as a magical instrument to express his subjectivities. Poetry moves words pregnant with meaning, transfigures the world. To think about this movement is to observe how poetry figures socially in the history of a space-time, the different ways in which it manifests itself. In this path, it is not possible to trace the fixed body of the self-moving word, nor can it be discerned where its movement ends. Continuous. In each of its supports, poetry is fully expressed. And in each one all the others are present. In the letter formed on the page there is the voice that repeats itself, circulates and unfolds. The voice-letter relationship tends to and extends into letter-voice, and is strengthened according to a sustained movement in itself. This justifies this thesis, of a Semovência as a form of persistence of poetry, which divides its matter into voice on one side and letter on the other into these forms, as pairs and not opposites. This thesis is composed of moving sections in which the essay genre prevails over the monographed methodology. Its corpus comes from poems by Max Martins, Paes Loureiro, Vicente Franz Cecim and Bruno de Menezes. It also resides outside writing, in recorded Semovência available at a link, and in photographic essays assumed as writing. To think about this thesis, we see and hear the words that resonate from the studies of Paul Zumthor (1993), (2010), (2014), Octavio Paz (2012), (2018) and Gaston Bachelard (1986), (2001), ( 2018).