Corpo, erotismo e dança em Adornos, de Ana Marques Gastão

Abstract

This study deals with poetry in Adornos (2011), by the contemporary portuguese poet Ana Marques Gastão, whose five sections reveal to us poetry in which the five senses are the raw material for the creative act. The poet experiments with the body through the five senses, eroticism, and dance. Thus, the general objective of this research was to study the five meanings in the poems of this work, from which the poetic act is questioned and presented in conjunction with the body as language, understood as body-human, body-poem, and as poetry-dance, endowed with synesthesia. The specific objectives were to analyze how the five senses are treated, whether there are convergences between them and how Ana Marques Gastão uses them to reflect on the poetic act in the poetry present in the work; to highlight the manifestations of eroticism in gastanian poetry, whose connection is sacred, through the constitution of the body as a language for the expression of the five senses; and finally, to think of dance in the poetic production of this work as poetry-dance endorsed with synesthesia. The methodology of this study had a bibliographic character, guided by the theoretical texts, essays, and analyses of the selected poems of the work object of study. The book Leitura de poesia (1996), by Alfredo Bosi, was the methodological basis for the analysis of poems performed in the three chapters of this research. In the first chapter, we analyze the five meanings of the body, from the reading of the selected poems of the sections “Antevisão” and “Ondulações”, observing the synesthetic intersection between them and the way the poet works with the anatomy and physiology of the physical senses, and reflection was made on the poetic act of the author, having as theoretical core the thought of Maurice Merleau-Ponty, in Phenomenology of perception (2011), Gaston Bachelard, in Imagination and matter (1989), Diane Ackerman, in A natural history of the senses (1996), Michel Serres, in The five senses (2001). In the second chapter, we verify how sacred eroticism and eroticism of bodies are presented in the work, as well as analyze the seductive poetic language of Ana Marques Gastão in the light of the theoretical thought of Octavio Paz, in the work The double flame: love and eroticism (1994), Roland Barthes (1981) and Leyla Perrone-Moisés (1990). In the third chapter, we think about the relationship established between dance and poetry in the work object of this research, taking the concept of poetry-dance constructed by the poet in the essays of the initial chapter of the book As palavras fracturadas (2013), aiming to show that poetry-dance is metapoetic and sinesic. The theoretical contribution of this last chapter was constituted by the ideas of José Gil, in Movimento total: o corpo e a dança (2001), as well as other theorists who deal with dance, such as Paul Valéry, in The philosophy of Dance (2011).