Soneto como variação fixa formal

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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.
Soneto, Sonnet, Forma fixa, Sujeito autocentrado, Igualdade na quantidade, Sujeito centrado, Fixed form, Self-centered subject, Equal in amount, Centered subject
BUARQUE, Jamesson. Soneto como variação fixa formal. Revista Texto Poético, Goiânia, v. 19, p. 40-71, 2015.