Poéticas do cotidiano: uma leitura de Ana Martins Marques

Abstract

The present work was developed aiming to investigate how Ana Martins Marques’s – a Brazilian poet from Minas Gerais – poetics focused on daily life is established. Her poetics presents constitutive relations both to literary tradition as well as to visual arts – normally made explicit on epigraphs and dedications – in her exercises of reflection on life, love, and language through poems that map daily scenes, happenings, and objects. The present research was done taking into account not only the context in which this poetics emerges – the context of present-day Brazilian literature which is characterized by an intense plurality of forms and themes – but also the way the criticism approaches the productions of the current moment. After identifying the impasses between the plurality of productions and part of the criticism they occupy, we chose to use a methodology funded in the recognition of anachronism, which was proposed by Susana Scramin (2007). She uses the text to identify an “economy of affections”. These, excusing the redundancy, “affect” literary writing through the mobilization of different lines of sense, languages, and temporal strata which amplify expression, according to what Florencia Garramuño (2014) proposes. Moreover, the affections resignify the references according to their uses in the works, following Marjorie Perloff’s (2013) line of thought. Therefore, in order to investigate how the affections of visuality and the relations to literary tradition constitute Marques’s poetics of the daily life, her production was analyzed in perspective to other poetics – literary and visual – that also use daily life as poetic substrate. They are: Marcel Duchamp’s readymades, Andy Warhol’s Brillo Boxes (1964), Manuel Bandeira’s modernist poetry, Ana Cristina Cesar’s poetic experience, as well as contemporary art works such as Rivane Neuenschwander’s O trabalho dos dias (1998/2000) and Arne Svenson’s photographic series The Neighbours (2012).