André Luiz do Amaral

As Tisanas como imagens de pensamento

Introduction

As tisanas como imagens de pensamento. Enquadre as "Tisanas" de Ana Hatherly como "imagens de pensamento" (Denkbilder). Análise da obra da escritora portuguesa, relacionando-a com Benjamin e Adorno.

Abstract

Procura-se um enquadramento teórico das Tisanas – work in progress da escritora portuguesa Ana Hatherly (1929-2015) – que melhor corresponda aos seus elementos formais distintivos, uma vez que a crítica em geral tem apontado para seu caráter deslizante e indiscernível. Por meio da leitura cerrada dos fragmentos que as constituem e de um exercício comparativo entre os emblemas barrocos e a tradição do poema em prosa, considera-se sua designação como imagens de pensamento (Denkbilder), tipo textual específico praticado por autores ligados à Escola de Frankfurt, notadamente Walter Benjamin e Theodor W. Adorno. Dessa análise resulta a possibilidade de compreensão mais ampla das linhas de força da obra e de seus temas.

Review

This article presents a compelling and original theoretical framework for understanding Ana Hatherly's "Tisanas," a work that has historically challenged critical interpretation due to its perceived elusive nature. The author astutely identifies a gap in existing scholarship and proposes to classify "Tisanas" as *imagens de pensamento* (Denkbilder), drawing a direct conceptual lineage to the textual practices of Frankfurt School thinkers such as Walter Benjamin and Theodor W. Adorno. This central thesis promises to offer a much-needed anchor for a work often described as "slippery and indiscernible," providing a robust lens through which to engage with its distinctive formal elements. The methodology outlined is rigorous and well-conceived, combining a meticulous close reading of the "Tisanas" fragments with a nuanced comparative analysis. By juxtaposing baroque emblems and the tradition of the prose poem, the article sets the stage for a comprehensive exploration of Hatherly's work within a rich intertextual landscape. This dual approach is particularly effective in building a strong case for the *Denkbild* designation, demonstrating a deep engagement with both the specificities of Hatherly's text and broader literary and philosophical traditions. The proposed framework aims not merely to label, but to illuminate, promising a broader comprehension of the work's inherent forces and thematic concerns. The potential impact of this research is substantial. By reframing "Tisanas" as *imagens de pensamento*, the article not only resolves long-standing ambiguities in Hatherly criticism but also opens new and fruitful avenues for scholarly inquiry into her oeuvre. This innovative theoretical intervention promises to deepen our understanding of Hatherly’s unique contribution to Portuguese and experimental literature, positioning her work within a significant intellectual tradition. The successful execution of this analysis stands to enrich both Hatherly studies and the broader discourse on complex, fragmented textual forms, making it a highly valuable contribution to the field.

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