Sob o olhar da crítica: a poesia brasileira no século XXI – vínculos e rupturas com o Modernismo de 1922
Data
2022-04-26
Autores
Garcez, Fabiano Fernandes 
Tipo
Dissertação de mestrado
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Resumo
A presente dissertação discute duas décadas de produção crítica sobre o que seja a poesia contemporânea a fim de identificar os aspectos históricos e culturais que mobilizam a crítica contemporânea sobre essa produção. A ideia foi pensar a poesia contemporânea no ponto em que se verifica a influência de conceitos modernistas em sua produção e em sua recepção crítica. Para tanto, propusemos um levantamento e posterior análise das narrativas crítico-historiográficas, ou seja, os critérios de escolha empregados pelos estudiosos, tanto para selecionar os poetas quanto os temas. Além disso, procura-se identificar a influência do legado modernista nesse processo, justamente às vésperas do centenário do marco histórico: a Semana de Arte Moderna de 22. Faz-se necessário identificar quais aspectos históricos, políticos, econômicos e culturais mobilizam essa crítica, tanto para valorizar ou ignorar certos extratos da poesia contemporânea como para verificar o quanto a poesia publicada no início do século XXI é reverberação criativa ou diluição repetitiva da tradição modernista do século XX. Assim, eis a pergunta a que esta dissertação se propõe a responder: Estamos diante de uma nova proposta estética e linguística, uma vez que a compreensão do contemporâneo não se dá, apenas, pela interpretação dos fatos históricos e sociais, mas, também, pela arte produzida pela sociedade e seus indivíduos? A arte pode refletir o presente e influenciar os rumos desse mesmo presente, sem precisar esquecer do passado modernista, bem como negar o presente ou o futuro. Nas palavras do poeta Carlos Ávila, a poesia do amanhã dependerá dos resultados da poesia de hoje, das linhas de produção textual que estão em movimento ou se delineando no momento, a se crer ainda na noção do processo histórico. Desse modo, compreender a poesia do século XXI é, portanto, um caminho de elucidação e de tomada de consciência do tempo presente.
This dissertation discusses two decades of critical production on what contemporary poetry is in order to identify the historical and cultural aspects that mobilize contemporary criticism of this production. The idea was to think about contemporary poetry at the point in which the influence of modernist concepts is verified in its production and in its critical reception. To this end, we proposed a survey and subsequent analysis of the critical-historiographical narratives, that is, the criteria used by scholars to choose both poets and themes. Furthermore, it seeks to identify the influence of the modernist legacy in this process, precisely on the eve of the centenary of the historic landmark: the Modern Art Week of ’22. It is necessary to identify which historical, political, economic and cultural aspects mobilize this criticism, both to value or ignore certain extracts of contemporary poetry and to verify how much of the poetry published at the beginning of the 21st century is a creative reverberation or a repetitive dilution of the modernist tradition of the 20th century. Thus, here is the question that this dissertation proposes to answer: Are we facing a new aesthetic and linguistic proposal, since the understanding of the contemporary is not only given by the interpretation of historical and social facts, but also by the art produced by society and its individuals? Art can reflect the present and influence the course of that same present, without having to forget the modernist past, as well as denying the present or the future. In the words of the poet Carlos Ávila, the poetic tomorrow will depend on the results of the poetic today, on the lines of textual production that are in movement or being outlined at the moment, if we still believe in the notion of the historical process. In this way, understanding the poetry of the 21st century is, therefore, a path of elucidation and awareness of the present time.
This dissertation discusses two decades of critical production on what contemporary poetry is in order to identify the historical and cultural aspects that mobilize contemporary criticism of this production. The idea was to think about contemporary poetry at the point in which the influence of modernist concepts is verified in its production and in its critical reception. To this end, we proposed a survey and subsequent analysis of the critical-historiographical narratives, that is, the criteria used by scholars to choose both poets and themes. Furthermore, it seeks to identify the influence of the modernist legacy in this process, precisely on the eve of the centenary of the historic landmark: the Modern Art Week of ’22. It is necessary to identify which historical, political, economic and cultural aspects mobilize this criticism, both to value or ignore certain extracts of contemporary poetry and to verify how much of the poetry published at the beginning of the 21st century is a creative reverberation or a repetitive dilution of the modernist tradition of the 20th century. Thus, here is the question that this dissertation proposes to answer: Are we facing a new aesthetic and linguistic proposal, since the understanding of the contemporary is not only given by the interpretation of historical and social facts, but also by the art produced by society and its individuals? Art can reflect the present and influence the course of that same present, without having to forget the modernist past, as well as denying the present or the future. In the words of the poet Carlos Ávila, the poetic tomorrow will depend on the results of the poetic today, on the lines of textual production that are in movement or being outlined at the moment, if we still believe in the notion of the historical process. In this way, understanding the poetry of the 21st century is, therefore, a path of elucidation and awareness of the present time.