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Previous issue date: 2016-02-29 / Quase um ponto cego na fortuna crítica rosiana, “O burro e o boi no presépio”
ressente-se também de uma evidente negligência editorial – das 26 imagens
referidas pelos poemas, duas reclamam revisão e cinco não constam na única
edição ilustrada, esgotada há anos. Tendo reconstituído e sanado as
correspondências imagem-poema, nosso trabalho analisa, num primeiro momento,
“O burro e o boi no presépio” enquanto ponto de interseção das veredas-mestras da
poética de Rosa – a espacialidade, a performatividade, a autoinclusão e a
preocupação metafísica. Considerada nessas quatro dimensões fundamentais, cada
obra e a obra inteira de Rosa emergem como um poema, uma configuração de
nexos não-lineares que um autor implícito conspícua e deliberadamente atuante faz
por apontar. Em Corpo de Baile o nexo fundamental é justamente o presépio.
Mistério fundador no cristianismo, a Natividade associa-se à devoção festiva e
risonha que encontramos no ciclo das sete novelas, onde o presépio é, mais do que
leitmotif, uma celebração da poesia como lugar do sagrado. Sempre lado a lado com
os poemas do presépio, a segunda parte do trabalho percorre Corpo de Baile como
essa celebração performada na coenunciação literária, profissão de fé a um tempo
estética e religiosa, de um escritor para quem “credo e poética são a mesma coisa”
(ROSA In COUTINHO, 1983, p.74). / “The ass and the ox at the Nativity scene” has been all but ignored by critics as well
as by the publishing world – evidenced by the fact that the only illustrated edition of
the 26 poems has been out of print for over twenty years, with all its editorial errors
as yet uncorrected. Having addressed these issues raised by the correspondence
between the poems and the images to which they refer, we begin by discussing the
work as a converging point for some of the hallmarks of Rosa’s poetics – spatiality,
performativity, reflexivity and metaphysical concern. In this light, each book taken
individually, as well as Rosa´s body of work as a whole, can be interpreted as poetry
-- poetry in the sense of a semantic configuration in which meaning is conveyed as
much through non-linear channels as through linear ones. In Corps de Ballet, it is
precisely the Nativity scene which serves as the core nexus linking together the
various strands of imagery. As Christianity’s founding mystery, the Nativity is directly
associated with the forms of festive and gleeful worship found in all seven stories.
More than mere leitmotif, it is in itself a celebration of poetry as a vehicle for holiness
and spirituality. Drawing further parallels with the Nativity poems, part two analyses
Corps de Ballet in terms of this celebration qua literature, exploring writing itself as an
act of faith that is at once aesthetic and religious in the work of an author for whom
“creed and poetry are one and the same”(ROSA In COUTINHO, 1983, p.74).
| Identifer | oai:union.ndltd.org:IBICT/oai:repositorio.ufpe.br:123456789/20001 |
| Date | 29 February 2016 |
| Creators | VITAL, Michelle Jacome Valois |
| Contributors | FERREIRA, Emerlinda Maria Araujo |
| Publisher | Universidade Federal de Pernambuco, Programa de Pos Graduacao em Letras, UFPE, Brasil |
| Source Sets | IBICT Brazilian ETDs |
| Language | Breton |
| Detected Language | Portuguese |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/doctoralThesis |
| Source | reponame:Repositório Institucional da UFPE, instname:Universidade Federal de Pernambuco, instacron:UFPE |
| Rights | Attribution-NonCommercial-NoDerivs 3.0 Brazil, http://creativecommons.org/licenses/by-nc-nd/3.0/br/, info:eu-repo/semantics/openAccess |
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