Soneto como variação fixa formal
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Data
2015
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Resumo
This article argues about the sonnet as a fixed form because it is variable. This
corresponds to the variety in the fixity as “equal in amount” (aequalitas numerosa). To prove
this, it is considered the sonnet from its origins, by Giacomo da Lentini, to the poetry of
Brazilian modernists (Manuel Bandeira, Carlos Drummond de Andrade and Vinicius de
Moraes), passing by the Parnassian poet Olavo Bilac. The analysis investigates the “equal in
amount” considering template, versification, stanzas, rhyme, rhythm and tonality. To this end,
lectures up on the formation of the subject and its intervention in the western poetry of the
thirteenth century to the twentieth, distinguishing centered subject (prior to the mid-eighteenth
century) and self-centered subject (later). It infers that the sonnet has a formal minimum
around fourteen verses in a logical-discursive textual progression serving: proposition,
development and closing. It is observed that this minimum exists only in abstract, because
the sonnet varies so much that it's undone, from its origins to the mid-twentieth century.
Descrição
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Soneto, Sonnet, Forma fixa, Sujeito autocentrado, Igualdade na quantidade, Sujeito centrado, Fixed form, Self-centered subject, Equal in amount, Centered subject
Citação
BUARQUE, Jamesson. Soneto como variação fixa formal. Revista Texto Poético, Goiânia, v. 19, p. 40-71, 2015.