O TEMPO CORPÓREO E SENSÍVEL DA CIDADE: UM ESTUDO DA MODERNIDADE NO RECIFE A PARTIR DA LITERATURA

Resumo

Este artigo procura apresentar a cidade do Recife a partir dos conflitos e ambiguidades da emergência da modernidade no início do século XX, buscando pontuar a presença do saudosismo como algo mais que um recurso literário, mas também um desejo e sentimento real de seus poetas e viventes. O estudo apresentará o cenário inicial do modernismo em consonância com as transformações urbanas na capital pernambucana e focará nos embates entre modernidade e tradição na cena literária local procurando demonstrar que o tradicionalismo, além de uma presença comum no modernismo brasileiro, reveste-se de outros corpos e sentidos na cidade do Recife, fincando-se como um desejo de passado e resistência diante dos assombros da modernidade. A narrativa, de caráter histórico, terá como suportes, ainda que muitas vezes ocultos, a leitura de autores como Walter Benjamin, Andreas Huyssen, Hans Ulrich Gumbrecht e Friedrich Kittler.

ABSTRACT 

Concerning the role of materialities in the perception of the digital literary object, we observe the constructive processes of intermediation, multimediality, remediation and verbal-perceptual experimentalisms, usually problematized in the set of theoretical-explanatory texts that usually accompany digital literary productions. Therefore, the start point is based on the understanding of the fundamentals and the discussion of the problems inherent in digital poem production, when the non-digital materialities and the book as a medium are observed, as well as mediations centered on the understanding of Voice and Writing.

In the context of the classroom, as a receptive space for digital poetic works, the main obstacle has been dealing with aesthetic experiences whose reproducibility becomes disconnected at moments of execution of the digital poetic object, when juxtaposed to the instants of aesthetic discussion. There seems to be an explicit difficulty in replicating / explaining digital poetic texts. It is necessary to seek another mode of circumscription of this object by its conditions of existence: experience and interpretative reporting, both individual processes. Even using pretexts and paratexts, sometimes existing and accompanying digital poetic objects, it is in the classroom that another interpretive bias arises, what I propose, in hypothetical terms, as aesthetic memory; namely, the experience of these objects lacks forms of segmentation and contextualization. A digital poetic work depends on its execution process, even if hypertextual, following a time line of aesthetic experimentation. .

Keywords: aesthetic experience; digital literature; materialities.