Transgressão, erotismo e solidão na lírica de Gilka Machado, Delmira Agustini e Rosario Castellanos

Abstract

In this thesis, I pay attention to the lyrical composition poetic form and content of three Latin American writers: the Brazilian Gilka Machado; the Uruguayan Delmira Agustini; and the Mexican Rosario Castellanos. Important poets who dared to face the interdict and played, in the background, an essential role of resistance and struggle in the sociocultural and ideological agon’s plot of the patriarchal man-woman socio-historical relationship. Therefore, in this study, I pay attention to the poetic form and content of the authors' lyrical composition, seeking bases of analysis and interpretation that unravel the way in which the poets explore, through lyrical images, the relationships among affections, emotions, feelings and the desire to be within the social and human universe, in order to reveal the passion that moves them, their transgressive impulses and the ontological loneliness that, notoriously or impliedly, emerges from their poiesis. Thus, the general objective of the research is to compare similarities and/or differences referred to the three authors studied poetics, through the investigation of discursive strategies and semantic and syntactic choices with regard to lyrical language used by them. The theoretical basis will be based on propositions and concepts of writers from different areas of knowledge. Examplifying, I mention the main ones: from comparative studies – Pierre Brunel (1995), Tânia F. Carvalhal (2006); from literary theory – Benedetto Croce (2001), Hans Ulrich Gumbrecht (2010); from psychoanalysis – Sigmund Freud (1974) and, especially, Jacques Lacan (1998); from semi-symbolic systems – semiotics explored by Lucia Santaella (2019); from cultural studies – Theodor Adorno (1975), Raymond Williams; from historical studies and political science – Peter Gay (1990), Jacques Le Goff (2003); from the philosophers – Martin Heidegger (1997), Georges Bataille (1987), Friedrich Nietzsche (2008); from feminist critics – Beth Miller (1987), Celia Amorós (1991), Rosário Castellanos (1984). The comparative method will underpin the analyzes and the analogical force of the lyrical verses will guide the theoretical choices in order to reveal the authors’ poetic particularities. As a result, I hope to be demonstrating that these three writers’ poetic contributed to expanding the spaces for women acting in their countries, in Latin America and perhaps in the world. Although Gilka Machado and Delmira Agustini bring many similarities in their poetics’ form and content, revealing a syncretism between Symbolism and Modernism, the actional force that moves the affections in the lyrical intertwine, in Gilka Machado, is more tactile and resorts more frequently to materiality evoked through the five senses even though they are used as driving springs to reach the spheres of the sublime. In Delmira Agustini, her affections regularly turn to metaphorical elements from which metaphysical aspects emanate. In Rosario Castellanos, the analyzes revealed that her aesthetic convictions distance themselves from those of Machado and Agustini, because his poiesis centers on the critical reevaluation of the past and its legacies in the present, maintaining an ironic dialogue with history, with the history of art, with society and culture, so that the driving force of her literature centers on the enunciative subversion inscribed in and through discursivit