Gisana Karen Araújo Costa Lira, Tito Matias-Ferreira Júnior

Um sujeito lírico “fora de si”?

Introduction

Um sujeito lírico “fora de si”?. Analisa o sujeito lírico fragmentado em poesia contemporânea. Via Collot, estuda "Para a menina" de Evaristo, revelando a dissolução do eu em um 'nós coletivo'.

Abstract

Na poesia, o sujeito lírico acompanha transformações significativas que ocorrem no mundo, especialmente a partir do século XX, quando reflexões sobre a centralidade do sujeito e os pensamentos totalizantes sobre a constituição da identidade começam a ser contestados. No lugar de uma identidade fixa e centralizada, surgem novas formas de pensar o sujeito, como uma entidade fragmentada e em constante transformação. Esses desdobramentos das mudanças de paradigmas filosóficos e literários se refletem também na poesia contemporânea, onde a figura do sujeito lírico é repensada. Partindo desta reflexão e por meio de uma abordagem crítico-interpretativa, este trabalho tem como objetivo, analisar, à luz do conceito de Michel Collot (2004) de um sujeito lírico “fora de si”, o poema “Para a menina” (2017), de Conceição Evaristo, compreendendo sua constituição a partir de sua relação com a linguagem, com o outro e com o mundo. Observamos, dentro desta análise, a diluição do sujeito lírico em um “eu pluralizado” que não deixa de existir, mas convoca um “nós coletivo", por meio de uma leitura que entrelaça diversos elementos de reconhecimento do sujeito no outro.

Review

This paper proposes a timely and relevant investigation into the evolving concept of the lyrical subject in contemporary poetry, specifically addressing the shifts from a fixed, centralized identity to one that is fragmented and transformative. By framing its analysis within the context of 20th-century philosophical and literary challenges to essentialist notions of identity, the study positions itself at the intersection of critical theory and poetic analysis. The objective to analyze Conceição Evaristo's "Para a menina" through Michel Collot's concept of a lyrical subject "outside itself" promises a focused and theoretically informed examination, addressing a significant concern in literary studies regarding modern and postmodern expressions of selfhood. The methodology, described as critical-interpretative, is well-suited for a deep engagement with the chosen poem. The abstract effectively communicates the paper's analytical lens, focusing on the subject's constitution in relation to language, the other, and the world. The preliminary finding—the observation of a "dilution of the lyrical subject into a 'pluralized self' that summons a 'collective we'"—is particularly compelling. This suggests a nuanced reading that moves beyond simple fragmentation to explore the generative potential of a reconfigured identity, emphasizing interconnectedness and communal recognition. Such an approach can offer valuable insights into how contemporary poetry, and Evaristo's work in particular, negotiates individual experience within broader collective realities. To further enhance the paper's impact, it would be beneficial to explicitly outline how the findings contribute to broader theoretical discussions beyond the immediate analysis of Evaristo and Collot. For instance, considering Evaristo's prominent position as a Black Brazilian writer, exploring how her specific socio-cultural context enriches or complicates the understanding of the "collective we" and the "subject outside itself" could significantly deepen the analysis, potentially connecting to discussions of decoloniality or intersectional identity. Furthermore, while Collot's concept provides a strong framework, briefly situating it within a wider constellation of theories on fragmented or decentered subjectivity (e.g., post-structuralist thought, psychoanalysis) could provide a richer theoretical backdrop. Overall, the paper demonstrates strong potential for making a valuable contribution to the study of contemporary poetry and identity.

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