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Figura Huius mundi : figuras líricas da temporalidade na poesia de E. Dickinson
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A partir da leitura de um amplo leque de poemas de Emily Dickinson, este trabalho visa
discutir e corroborar algumas teses fundamentais:
1) A experiência temporal é aporética, cognitivamente fracturada pela contradição entre as
suas dimensões tão complementarmente necessárias quão incompatíveis (nomeadamente a
contradição entre duração e sucessão, entre contínuo e descontínuo; a clivagem entre aqui e
agora e a consequente indeterminabilidade teorética da presença no quadro da experiência
perceptiva).
2) Este seu estatuto aporético inviabiliza uma descrição teorética da experiência temporal
como um todo, tornando necessária uma abordagem expressivo-interpretativa que se produz
como um discurso figural sobre o tempo de cariz plural e não totalizador, cuja primeira
relevante atestação se encontra nas epístolas paulinas.
3) Na pluralidade de registos figurais que focalizam a experiência temporal, um papel
insubstituível deve ser reconhecido à figuralidade lírica. Reconstruindo esta forma de discurso
como uma modalidade de expor a experiência interior por meio da experiência exterior, de
articular o intencional por meio do perceptivo, pode ser evidenciada a sua eficácia em
interceptar e expor os aspectos sincrónicos-perceptivos da experiência temporal e a sua
contraditoriedade. O registo lírico combina-se assim com os outros registos figurais
(reflexivo-fenomenológico, cosmológico-científico, narrativo, dramático, hermenêuticoperformativo)
de processamento expressivo-interpretativo da experiência temporal, sem lhes
poder ser assimilado.
A wide selection of Emily Dickinson’s poems is discussed and interpreted in this work in order to support the following main theses: 1) Temporal experience is aporetical, cognitively fractured by the contradiction among dimensions that are both necessary and incompatible (such as the contradiction between duration and succession, between continuous and discontinuous; the gap between here and now and the resulting theoretical indeterminability of presence in the frame of perceptive experience). 2) Its aporetical character makes impossible a theoretical description of temporal experience as a whole, and requires switching to the expressive-interpretative approach of a plurality of figural discourses about time. Neither homogeneous nor totalising, this discursive panoply finds a first significant attestation in Paul’s writings. 3) In the plurality of the figural registers that frames temporal experience, a unique role has to be recognised to lyrical figurality. By reconstructing this discourse form as a modality of exposing the inner experience through the outer experience, of articulating the intentional by the perceptive, its efficacy in intercepting and exposing the synchronical-perceptive aspects of temporal experience and its contradictory character may be highlighted The lyrical register hence combines with, without being assimilated by, other figural registers (such as the reflexive-phenomenological, cosmological, narrative, dramatic, hermeneuticalperformative) of expressive-interpretative processing of temporal experience.
A wide selection of Emily Dickinson’s poems is discussed and interpreted in this work in order to support the following main theses: 1) Temporal experience is aporetical, cognitively fractured by the contradiction among dimensions that are both necessary and incompatible (such as the contradiction between duration and succession, between continuous and discontinuous; the gap between here and now and the resulting theoretical indeterminability of presence in the frame of perceptive experience). 2) Its aporetical character makes impossible a theoretical description of temporal experience as a whole, and requires switching to the expressive-interpretative approach of a plurality of figural discourses about time. Neither homogeneous nor totalising, this discursive panoply finds a first significant attestation in Paul’s writings. 3) In the plurality of the figural registers that frames temporal experience, a unique role has to be recognised to lyrical figurality. By reconstructing this discourse form as a modality of exposing the inner experience through the outer experience, of articulating the intentional by the perceptive, its efficacy in intercepting and exposing the synchronical-perceptive aspects of temporal experience and its contradictory character may be highlighted The lyrical register hence combines with, without being assimilated by, other figural registers (such as the reflexive-phenomenological, cosmological, narrative, dramatic, hermeneuticalperformative) of expressive-interpretative processing of temporal experience.
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Palavras-chave
Dickinson, Emily, 1830-1886 - Crítica e interpretação Poesia americana - séc.19 - História e crítica Tempo - Na literatura Teses de doutoramento - 2016