| Popis: |
Nelson Rodrigues built a imagistic delirium universe that paved the social acceptance of a new aesthetic sensibility marked by unreason & play-elements. The same sensitivity appeared in the last works of Campos de Carvalho and Guimaraes Rosa. With strong ludic and humorous accents, such works are fragmented, fray the boundaries of language and, as in poetry, explore sound appeals in cadence (dis) rhythmic / cacophonous presenting the world (fictional) in a state of pure disorder. Despite their different themes, such formal similarities express the poetic efforts to break with rationalist standards of realistic verisimilitude, which involves the establishment of new societal agreement on the art status and reveals the constituent terms of the current “pleasures regime” in Brazilian society of 1960. |
