A ESCRITA CALEIDOSCÓPICA DE GLAUCO MATTOSO

Abstract

This article analyzes two sonnets by the Brazilian contemporary poet Glauco Mattoso. The selected poems belong to the two phases of his work: from the Visual Phase, we will analyze Bilacamonia, published in Jornal DOBRABIL (2001); and from the Blind Phase, the Soneto Bocágico-Camônico, published in Paulisséia ilhada: sonetos tópicos (1999a). The oeuvre of Glauco Mattoso builds a link that leads the reader to different poetic traditions and periods, such as the Classicism (Luiz Vaz de Camões), Neoclassicism (Manuel Maria du Bocage) and Parnassianism (Olavo Bilac). The analysis will be performed comparatively, aiming to describe the procedures used by Glauco Mattoso to re-elaborate canonical poems in his sonnets. The works of A. C. Danto (2006), on appropriation, Linda Hutcheon (1991), on post-modernism, and Marjorie Perloff (1993), on collage, are theoretical references of this debate. Glauco Mattoso's writings behave as a kind of kaleidoscopic mix of various elements of the Portuguese poetic tradition and put them in motion when producing sonnets of explicit intertextual character, building a network of dialogues between periods and poets.