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Master's Dissertation
DOI
10.11606/D.8.2011.tde-17112011-112606
Document
Author
Full name
Marcos Lemos Ferreira dos Santos
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2011
Supervisor
Committee
Almeida, Jorge Mattos Brito de (President)
Bosi, Viviana
Pécora, Antonio Alcir Bernárdez
Title in Portuguese
Orfeu emparedado: Hilda Hilst e a perversão dos gêneros
Keywords in Portuguese
Hilda Hilst
Indústria cultural
Lírica moderna
Peter Szondi
Teoria dos gêneros
Abstract in Portuguese
A partir de uma perspectiva que valoriza a teoria dos gêneros literários, o presente trabalho busca verificar como se processam, na obra da escritora brasileira Hilda Hilst, as relações entre lírica, teatro e prosa narrativa. Seu principal parâmetro teórico é o trabalho de Peter Szondi: Teoria do drama moderno, livro em que o crítico alemão aborda a mistura de gêneros literários como tentativas de superar, na criação estética, problemas objetivos relacionados à situação histórica de determinada forma literária. No caso de Hilda Hilst, serão analisadas como as incursões da autora no teatro e na prosa narrativa funcionam como resposta problemática à recepção de uma lírica inicialmente balizada pelos ideais poéticos da Geração de 45. Demonstro, assim, como as tentativas da autora em outras modalidades discursivas produzirão alterações formais significativas em sua obra, a partir da contaminação estrutural de um gênero para o outro.
Title in English
Orfeu emparedado: Hilda Hilst and perversion of the genres
Keywords in English
Culture industry
Hilda Hilst
Literary genres
Modern lyric
Peter Szondi
Abstract in English
Taking into consideration a perspective that privileges the Theory of literary forms, this study aims at verifying the way it works, in the production of the Brazilian writer Hilda Hilst, the relations among lyrics, theater and narrative prose. The theoretical parameter is the works Theory of Modern Drama, by Peter Szondi, in which the German critic deals with the question of mixture of literary forms as an alternative to overcome objective questions related to the historical situation of a certain literary form. Concerning Hilda Hilst, we intend to analyse how the incursions of the author in theater and narrative prose appear as a problematic response to the reception of a lyrics initially guided by the poetic ideals of the Generation of 45. As we intend to demonstrate, the attempts on the part of the author in other discursive types will produce significant formal modifications in her work, by means of the contamination of structures of one gender to another.
 
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Publishing Date
2011-11-17
 
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