Publicação
This magnetized song
| Resumo: | The article seeks to identify in Hilda Hilst’s poetry, from the 1970s, a movement of sublimation of loving singing, sometimes found in the field of immanence and sometimes deified by negative interpolations, such as Cara Negra, Aquele Outro, Nothing, Sombrio unnamed. , Big Face, etc. He argues that there is a method of transcendence in Hilda Hilst’s love poetry, both for the lyrical subject, who suffers from love, and for the beloved who causes this suffering. This chant is organized from two pendular movements: asceticism, understood as a movement of detachment; and excess, understood as an absolute investment in loving passion and a privileged method of knowing God. |
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| Autores principais: | Oliveira, Cleide Maria de |
| Assunto: | Hilda Hilst lyric asceticism excess representations of God. Hilda Hilst lírica ascetismo exceso representaciones de Dios. Hilda Hilst lírica ascese excesso representações de Deus. |
| Ano: | 2020 |
| País: | Brasil |
| Tipo de documento: | artigo |
| Tipo de acesso: | unknown |
| Instituição associada: | IBICT |
| Idioma: | português |
| Origem: | Oasisbr |
| Resumo: | The article seeks to identify in Hilda Hilst’s poetry, from the 1970s, a movement of sublimation of loving singing, sometimes found in the field of immanence and sometimes deified by negative interpolations, such as Cara Negra, Aquele Outro, Nothing, Sombrio unnamed. , Big Face, etc. He argues that there is a method of transcendence in Hilda Hilst’s love poetry, both for the lyrical subject, who suffers from love, and for the beloved who causes this suffering. This chant is organized from two pendular movements: asceticism, understood as a movement of detachment; and excess, understood as an absolute investment in loving passion and a privileged method of knowing God. |
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