Eduardo Horta Nassif Veras

A voz da vítima

Introduction

A voz da vítima. Compare Augusto dos Anjos e Baudelaire. Este artigo analisa a voz da vítima na poesia de ambos, a dramatização do sacrifício do poeta e sua relevância na tradição moderna.

Abstract

Este artigo propõe uma aproximação entre as obras de Augusto dos Anjos e Charles Baudelaire. Partindo do debate acerca da recepção do poeta francês pelo poeta brasileiro, que mobilizou um bom número de críticos e historiadores da literatura brasileira, o trabalho analisa a presença da imagem da vítima sacrifical em ambos. O ponto alto da comparação encontra-se na constituição da voz poética. Nos dois casos, ela se identifica à voz da vítima, dando origem a uma dramatização do sacrifício do próprio poeta. Esse procedimento é analisado à luz de algumas teorias do sacrifício e identificado como um dos aspectos definidores da tradição poética moderna.

Review

O artigo "A voz da vítima" presents a compelling comparative analysis of the works of Augusto dos Anjos and Charles Baudelaire, building upon long-standing critical discussions regarding the former's reception of the latter. This study focuses on a particularly insightful shared element: the pervasive image of the sacrificial victim. By examining how both poets construct a poetic voice that identifies deeply with this victim, the article promises a fresh perspective on their individual oeuvres and their interconnectedness within the broader literary landscape, effectively entering an established academic debate with a novel angle. A significant strength of this work lies in its precise analytical focus on the "dramatization of the poet's own sacrifice" through the victim's voice. The abstract highlights that the core of the comparison rests on the very constitution of this poetic voice, a sophisticated approach that moves beyond mere thematic resemblance to delve into the very mechanics of poetic creation. Furthermore, the explicit integration of "theories of sacrifice" as a framework offers a robust theoretical underpinning, suggesting a rigorous and interdisciplinary methodology capable of yielding nuanced interpretations. This methodology holds the potential to illuminate previously unexamined facets of these influential figures, positioning the article as a scholarly contribution of considerable merit. The assertion that this procedure – the identification of the poetic voice with the victim and the dramatization of self-sacrifice – is a defining aspect of modern poetic tradition is particularly intriguing and positions the article for substantial contribution to literary theory. This research promises not only to deepen our understanding of Anjos and Baudelaire but also to provide a critical lens through which to re-evaluate the foundational elements of modern poetic expression across a wider spectrum of authors. The article appears to be a well-conceived and impactful addition to comparative literary studies, offering both specific insights and broader theoretical implications for the understanding of poetic modernity.

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