A intersemiose como crítica da crítica na poética experimental de Marília Garcia

Abstract

This paper aims to discuss the presence of hybrid and intersemiotics aspects in Marília Garcia's poetry, such as cinema and photography, in the books Câmera lenta (2017) and Parque das ruínas (2018), respectively. And, also, to think about a disjunctive synthesis in the poet's production, based on the book Expedição: nebulosa (2023). We intend, therefore, to note that Garcia's poetry takes place outside, that is, outside the conventional, outside pre-established molds, outside a priori forms, outside the self. The poet incorporates, in her work, other languages, other artistic expressions and other textual genres. Some aspects appear frequently in her books, namely: the attentive view at routine events, at the infraordinary; the slowing down in the midst of chaos, the agitation; the writing of urban spaces; her travel experiences and family life; makes her poetry critical of poetry. For the purposes of analysis and as a means of better understanding some characteristics of Marília Garcia’s poetry, we resort on the contributions of Garramuño (2016), Leone (2014, 2015), Rezende (2013), Siscar (2005, 2010, 2016), among others; on the studies of Martelo (2007), to initially consider the relationship between poetry and cinema; Martin (1990) and Bazin (2018) still on cinema; Martelo (2012) and Brizuela (2014), regarding the image and photography, respectively; Ferreira (2005), Garramuño (2014) and Levy (2011), to discuss the relationships of the outside in poetry; Deleuze and Guattari (1992, 1997, 2003, 2010, 2018), revisiting some categories such as ritornello, repetition, territorialization, deterritorialization and disjunctive synthesis.