Como um terraço sobre outra coisa ... linda: poéticas possíveis de Armindo Trevisan

Abstract

The present work aims to propose interpretations of a set of works in lyric poetry by Armindo Trevisan, in order to establish relationshis and conceptualizations about the elaboration of his poetic statements that, according to the examination, perform transversal movements. It is proposed a study that establishes the perception of different forms of manifestations of lyric self and poetic forms, which concern aesthetic and conceptual issues. Thus, by adopting as corpus of study a set of seventeen works of lyric poetry published by Armindo Trevisan over five decades of production (from 1967 to 2013), this paper hypothesizes the existence of three expressions of poetic practices in his textual phenomena, which intersect, while also maintaining differences in thematic, lexical, syntactic, and symbolic issues. They are: poetry as route ; poetry as experience , and poetry as discourse . In seeking to establish Trevisan's poetic connections, this research is guided by theoreticians such as Kate Hambürger, Mikel Dufrenne, Octavio Paz, and others. It also considers the reflections of poets who have theorized about poetic making, such as T.S. Elliot, Edgar Allan Poe, Paul Valery, and Armindo Trevisan himself, as well as reflecting on notes by specialized critics and reviews of literary histories by names such as Antônio Hohlfeldt, Alfredo Bosi, and Donaldo Schüler. On this point, there are, first, two chapters (second and third), in which we try to recover and promote Trevisan's artistic and personal trajectory. Then, because it is a work that aims not only at a general reading of Trevisan's body of work, but, above all, at looking at each work in its individuality, a structure is proposed in the research formed by three chapters (fourth, fifth, and sixth) that correspond to the analysis of the poetic works. In each chapter, a group of works and poems selected from them are listed in order to present and defend the arguments that underlie the consideration of the poetic concepts elaborated here ( route , experience , and discourse ). The first and seventh chapters of this research perform helical movements that, like a helicide, have an element that revolves around a fixed axis: being, proudly, its own voice