"Sousândrade: Rascunho para uma urna"

Abstract

Study that deals with the transversality of Sousândrade’s poetics, in the wake of “re visão de Sousândrade”, a book organized by the Campos brothers, where they revisit the poetics of Maranhão, highlighting its anticipatory link with modernism. Sousândrade was a language designer, whether at the phonic or syntactic level. It is about highlighting the marks of this fragmented universe, full of hybridisms and neologisms glimpsed in “O Guesa”, through the work of Haroldo de Campos “Sousândrade: rascunho para uma urna”, published in the magazine “Navilouca”, experimental almanac in unique edition, organized by Torquato Neto in Waly Salomão in 1972. Evidenced in the 19th century, enthusiasm for the Baroque would grow from the second decade of the 20th century, when theorists such as Wölfflin, Walter Benjamin, Eugenio D'Ors and, later, Haroldo de Campos and Severo Sarduy, come to consider as Baroque an irregular and fragmented aesthetic that repeats itself in history. From a resumption of Baroque aesthetics, which would not be limited to the 17th century, the focus is to glimpse the post-baroque “spectrum” of Sousândrade crossing the experimental poetics of the early 1970s.