The poetry of Francisca Júlia da Silva is read and the parnassian poetry in general as a very formally precise poetry. This rigorous measurement of poetic forms is the axis upon which the critic relies to valorize it, as it’s João Ribeiro case who understands this formal cares as the richness of her poetry, or to dismiss it, as is Mario de Andrade’s case, who understands this formal accuracy as excess, as pure artificiality, to the point of disregarding her poems as poetry. This essay however proposes a poetry reading not merely as a form, but as a force or plurality of forces. Thus, it seeks to analyze the anachronic force witch cohabitates there. The force of Francisca Júlia’s marble monuments resides in the cracks left there by time, that is, in the creation of thought, of poetry. This poetry is a modern poetry because it brings a critical thinking about language and allied to the hierarchization loss of the subject-object relationship: here, the Venus descends from the throne and gets face to face with the I, an I already emptied and therein lies her force
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