A palavra é faca afiada, e o que resta são fendas: uma proposta crítico-criativa

Abstract

This dissertation consists of two main parts: an original book of poems, entitled A palavra é faca afiada, e o que resta são fendas [A word is a sharp knife, and only cracks remain], and a theoretical essay reflecting on the compositional process of this collection, which is divided into three chapters. The poetic work, which explores the disintegration of the body and language, is the core of this work, while the critical analysis offers a reflection on the methodological choices that support it. In the first chapter, Escrever é como prender a respiração [Writing is like holding your breath], I present a narrative in fragments about the writing process and how my personal and literary trajectories influenced the construction of the collection of poems. The second chapter, O corpo (no) texto [The body (in the) text], addresses the choice of mutilated and hybrid bodies as a central theme, exploring how these bodies, which defy traditional norms and categories, are reflected in the fragmented structure of the poems. In the final chapter, Corpos em diálgo [Bodies in dialogue], I explain how intertextuality has become a central method in poetic composition, allowing a fusion of voices and texts that dialogue with my own writing. To this end, two compositional methodologies are detailed: ekphrasis, inspired by paintings by artist Adriana Varejão and coined as an intermedial phenomenon by Perloff (2013), and citational practice, proposed by Compagnon (1996) as the dialogue between texts that implies ideas such as collection, reunion, dialogue and affiliation. Thus, this dissertation aims to provide an understanding of the processes of literary creation, by tracing a path that unites subjectivity and critical analysis, fragment and totality, in addition to investigating the intersections between different forms of artistic expression.