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Twitteratura - a rede social twitter enquanto plataforma literária
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É possível que haja, intrínseco à insatisfação permanente do ser humano, um sentido de
condenação do que está para ser feito por comparação ao que já existe, uma síndrome da Era
Dourada de todas as coisas, como se o Passado fosse o único lugar com verdadeiro valor. O
mesmo acontece com a literatura, no geral, ou com a poesia, no particular: como se hoje pouco
houvesse ainda por escrever ou por fazer, como se o que foi escrito anteriormente já tivesse
atingido todas as possibilidades de criação e todas as combinações entre forma, significado,
linguagem, etc. De novo para nos recordar que inerente à nossa insatisfação está,
necessariamente, a busca pela evolução (seja o resultado positivo ou não), a era digital (ainda
por descodificar se será, de facto, dourada) vem mostrar que a poesia pode não estar condenada
ao esquecimento ou a um final trágico, mas sim a uma mudança do que é entendido como sendo
poético, ou poesia.
Noções como literatura eletrónica, hipertextual, chatterbots, ficção interativa, já são
mais familiares hoje. Este trabalho propõe a apresentação de uma noção que tem origem,
precisamente, no aparecimento de novas formas de fazer poesia, e que vem desafiar a noção
tradicional que temos da literatura, deixando o convite para a descoberta das diversas formas
de fazer arte em 140 caracteres. Referimo-nos à noção de twitterature (a junção da palavra que
dá nome àquela que é possivelmente a rede social mais micro – o twitter – com a palavra inglesa
literature), ou twitteratura.
O propósito desta investigação será, para além de verificar qual o género de trabalho
que está a ser feito através desta rede social em termos literários, também o de desvendar os
novos contornos que a literatura pode ganhar. Por um lado, focar-se-á na parte da criação
artística, e nas mudanças no processo de criação, ou no resultado desse mesmo processo, graças
ao twitter. Por outro lado, focar-se-á na perspetiva da promoção que os autores fazem através
da interação entre os seus “seguidores”. Finalmente, pretendemos analisar a forma como
determinadas obras canónicas do mundo ocidental são reinterpretadas neste mesmo universo
da twitterature. Para melhor situar a compreensão, será feita uma breve contextualização
relativamente à história da literatura e ao seu desenvolvimento no mundo digital.
There is the possibility that, inherent to the human being’s permanent dissatisfaction, there exists a sense of condemnation of what remains to be done in comparison to what exists already, a Golden Age syndrome of all things, if only the Past was truly worth it. The same happens with Literature in general, or with Poetry in particular. It is as if there was little left to be written or done nowadays, or what has been written before had already reached every possibility of creation and every combination of form, meaning, language, etc. To remind us yet again that the search for evolution is, necessarily, intrinsic to our satisfaction (whether the results are positive or not), the Digital Age (yet to ascertain if it is a golden age) shows us that poetry can survive oblivion or any other tragic ending, suffering instead mutations of what is understood as poetic, or as poetry. Notions like electronic literature, hypertextual, chatterbots, interactive fiction, are becoming more and more familiar to readers. This dissertation proposes a notion that originates precisely in the new ways in which poetry is made and which challenges the traditional notion that we have of literature, inviting people to discover the several ways of making art in only 140 characters. We refer to the notion of twitterature as a merge between the name of the most micro social network – twitter – with the word literature. Besides analysing the kind of literary work being made using twitter, we aim at unravelling the new shapes that literature can take. On the one hand, we shall focus on artistic creation and on the mutations of the creative process, or on the results of that same process promoted by twitter. On the other hand, we shall focus on the perspective of authors promoting themselves through interaction with their “followers”. Finally, we analyse the way in which certain works from the Western Canon are reinterpreted in this same universe of twitterature. In order to better situate the analysis, a brief contextualization will be made in relation to the history of literature and its development in the digital world.
There is the possibility that, inherent to the human being’s permanent dissatisfaction, there exists a sense of condemnation of what remains to be done in comparison to what exists already, a Golden Age syndrome of all things, if only the Past was truly worth it. The same happens with Literature in general, or with Poetry in particular. It is as if there was little left to be written or done nowadays, or what has been written before had already reached every possibility of creation and every combination of form, meaning, language, etc. To remind us yet again that the search for evolution is, necessarily, intrinsic to our satisfaction (whether the results are positive or not), the Digital Age (yet to ascertain if it is a golden age) shows us that poetry can survive oblivion or any other tragic ending, suffering instead mutations of what is understood as poetic, or as poetry. Notions like electronic literature, hypertextual, chatterbots, interactive fiction, are becoming more and more familiar to readers. This dissertation proposes a notion that originates precisely in the new ways in which poetry is made and which challenges the traditional notion that we have of literature, inviting people to discover the several ways of making art in only 140 characters. We refer to the notion of twitterature as a merge between the name of the most micro social network – twitter – with the word literature. Besides analysing the kind of literary work being made using twitter, we aim at unravelling the new shapes that literature can take. On the one hand, we shall focus on artistic creation and on the mutations of the creative process, or on the results of that same process promoted by twitter. On the other hand, we shall focus on the perspective of authors promoting themselves through interaction with their “followers”. Finally, we analyse the way in which certain works from the Western Canon are reinterpreted in this same universe of twitterature. In order to better situate the analysis, a brief contextualization will be made in relation to the history of literature and its development in the digital world.
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Twitter (Website) Literatura e Internet Literatura - Estética Criação literária Comunicação interpessoal Teses de mestrado - 2016