Poetry, document, authorship
DOI:
https://doi.org/10.1590/10.1590/2316-4018552Abstract
This essay seeks to understand procedures found in various contemporary poetry books that, through the use of documents, simultaneously question the role of authorship and produce a sense of estrangement in the perception of the real. In the examples examined here, the book of poems is presented as a minimal unit of poetry. This understanding launches a series questions concerning the underpinning of the genre ”“ the printed media ”“ as a fundamental element in the reception of these works.
Downloads
References
ANTELO, Raul (2016). A poesia nao pensa, ainda. In: SCRAMIN, Susana (Org.). Alteridades na poesia: riscos, aberturas, sobrevivências. São Paulo: Iluminuras.
AZEVEDO, Carlito (2016). Livro das postagens. Rio de Janeiro: 7 Letras.
BARTHES, Roland (1984). A câmara clara: nota sobre a fotografia. Rio de Janeiro: Nova Fronteira.
BOURRIAUD, Nicolas (2009). Postproducción: la cultura como escenario ”“ Modos en que el arte reprograma el mundo contemporáneo. Buenos Aires: Adriana Hidalgo.
CESAR, Ana Cristina (1980). Literatura não é documento. Brasília: Funarte.
COELHO, Eduardo (2017). Ressaca do ano seguinte. Posfácio. In: FRANKEL, Roy David. Sessão. São Paulo: Luna Parque. p. 237-244.
DIDI-HUBERMAN Georges (2008). La emoción no dice yo. Diez fragmentos sobre la libertad estética. In: DIDI-HUBERMAN Georges et al. Alfredo Jaar: la política de las imágenes. Santiago de Chile: Metales Pesados.
ESPOSITO, Roberto (2007). Terza persona. Politica della vita e filosofia dell’impersonale. Torino: Einaudi.
FOUCAULT, Michel (1969). L’Archéologie du savoir. Gallimard : Paris.
FRANKEL, Roy David (2017). Sessão. São Paulo: Luna Parque.
GARRAMUÑO, Florencia (2016). O outro avança sobre mim. Estudos de Literatura Brasileira Contemporânea, Brasília, n. 48, p. 11-28, maio/ago. 2016.
GARRAMUÑO, Florencia (2017). Depois do sujeito: formas narrativas contemporâneas e vida impessoal. Estudos de Literatura Brasileira Contemporânea, Brasília, n. 50, p. 102-111, jan./abr. 2016.
GOLDSMITH, Kenneth (2011). Uncreative writing. Managing language in the digital age. New York: Columbia University Press.
GOLDSMITH, Kenneth (2015). I look to theory only when i realize that somebody has dedicated their entire life to a question i have only fleetingly considered. Poetry, Chicago, 1º abr. Disponível em: <https://goo.gl/CK1n3s>. Acesso em: 10 out. 2017.
LIMA, Manoel Ricardo de [S.d]. Ler Ana C. é namorar um documento. Suplemento Pernambuco, Recife. On-line. Disponível em: <https://goo.gl/G9QP7H>. Acesso em: 10 out. 2017.
REVERSEAU, Anne (2012). Ce que la poésie fait du document: note méthodologique sur les insertions, les emprunts et les listes dans les années 1920. Fabula, Les colloques, Ce que le document fait à la littérature (1860-1940), Paris, 15 set. Disponível em: <https://goo.gl/92CxzH>. Acesso em: 14 jun. 2017.
SILVESTRE, Osvaldo (2016). Back to the future. O livro de poesia como crítica do livro em papel e do e-book. In: PEDROSA, Celia; ALVES, Ida (Org.). Poesia contemporânea. Voz, imagem, materialidades. Belo Horizonte: Editora da UFMG.
TATIÁN, Diego (2012). Lo impropio. Buenos Aires: Excursiones.
WILKINSON, Alec (2015). Something Borrowed. The New Yorker, New York, 5 out. On-line. Disponível em: <https://goo.gl/Cgwpxt>. Acesso em: 10 out. 2017.
Published
How to Cite
Issue
Section
License
Authors who publish in this journal agree to the following terms:
a) The authors maintain the copyright and grant the journal the right of first publication, the work being simultaneously licensed under the Creative Commons Attribution License-Non Commercial 4.0 which allows the sharing of the work with acknowledgment of the authorship of the work and publication this journal.
b) Authors are authorized to enter into additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg publish in institutional repository or as a book chapter), with authorship recognition and publication in this journal.
c) Authors are allowed and encouraged to publish and distribute their work online (eg in institutional repositories or on their personal page) after the editorial process, as this can generate productive changes, as well as increase the impact and citation of published work (See The Effect of Free Access).
d) The authors of the approved works authorize the magazine to, after publication, transfer its content for reproduction in content crawlers, virtual libraries and the like.
e) The authors assume that the texts submitted to the publication are of their original creation, being fully responsible for their content in the event of possible opposition by third parties.