Uma trajetória da subjetividade lírica na poesia de Hilda Hilst

Abstract

Over the centuries, women's writing had been relegated to erasure and oblivion, through different processes, and one of them is the case in which they could only be endorsed by the mostly male literary criticism that, naturally, was not in tune with the possibility of representation and expression of female voices and the occupation of cultural and social spaces by women. Considering this point and, starting from the notions of authorship, lyrical subjectivity and concepts and functions of literature, the present work intends to analyze part of the trajectory of the lyrical subjectivity and its unfolding in the lyric poetry of the brazilian poet Hilda Hilst. Therefore, it is important to consider that the concept of authorship is linked to the idea of authority and autonomy, which were and still are forbidden to women for a long time in westerner culture, as well as questioning the literary canon that was established in a false universalizing perspective and humanist. Therefore, it was up to this work to re ad and analyze the path of lyrical subjectivity in Hilda Hilst's poetry, from the book Presságio, from 1950, to Júbilo, memória, noviciado da paixão, from 1974, considering the historical and cultural particularities that crossed this period. poetry as written by a woman. Regarding the basis of the discussions proposed here, the path went from the first theories proposed around the figure of the lyric self within lyrical poetry to the more consistent reflections and problematizations about the place of women in literature and poetry and, above all, , of the literary and non-literary crossings visible in this clipping of Hilda Hilst's poetry. In the light of writings by Nelly Novaes Coelho (1991), Norma Telles (1992), Nelly Richard (2022) and Susana Bórneo Funck (2016), we set out to reflect and understand the processes of change and rupture that we see in the poetry of Hilda Hilst before the big changes in her production, namely: O caderno rosa de Lori Lamby (1990), in terms of theme, and O rato no muro (1967) and Fluxo-floema (1970), in terms of genre.