Sentir a água, ser caçador : as configurações do corpo e do erotismo feminino na poética de Olga Savary

Abstract

This work aims to analyze the metaphorical role of nature in the poems of Olga Savary, in the work Magma (1982). This is a literature review research, in which we will approach the construction of a new poetic dimension, which emerges from the intertwining between the human and the natural elements that makes explicit the manifestation of the nuances of eroticism in the poems, as a peculiar form of exploration. of the body and constitutive part of the lyrical love experience. For this, the research presents the characteristics of the literary work of Olga Savary; Brazilian poet who has the word and poetry as a reference for literary construction. The poet is responsible for publishing Magma, the first book written entirely on erotic themes, breaking social paradigms, given the context in which the female figure suffered from invisibility to conquer her own space, especially in literary representation. As a theoretical reference regarding erotic literature, the present dissertation will take the studies of Alberoni (1986), but above all Bataille (1987) and Octavio Paz (1994) who assimilate the characteristics of eroticism as a reference of interiority, mainly through imagination and human experience. For the analysis of the metaphorical function of water, we will take as theorists Eliade (1979) and Bachelard (1998) who present water in a similar way to Olga Savary's metaphors, as an inexhaustible source for the appreciation of nature, as a mediator of the exploration of creation, of purification and the ferocity of desire. The research seeks to demonstrate the poetic characteristics of Olga Savary as a paradigm shift, as it synthesizes the representation of a lyrical self that reveals, through human sensitivity, the subtle desire, solidified by language through the elements of nature. The analysis of the poems aims to observe their "textualized eroticism" that relates existence to reality, poetry and subjectivity itself.