Juliana dos Santos Gelmini

Marília Garcia em deslocamento

Introduction

Marília garcia em deslocamento. Explore a poesia contemporânea de Marília Garcia, vencedora do Prêmio Oceanos. Analise o tema do deslocamento em sua obra e a força da expressão feminina na literatura portuguesa.

Abstract

Marília Garcia se tornou um dos principais nomes na cena da poesia contemporânea. É a primeira mulher brasileira a conquistar o Prêmio Oceanos de Literatura com o livro Câmera lenta (2017). No seu projeto poético, o deslocamento é uma das principais linhas de continuidade, ainda que de modo fragmentado, entre suas práticas artísticas. O objetivo deste trabalho é reconhecer a voz de Marília Garcia (Rio de Janeiro, 1979) como exemplo da forte e decisiva expressão da poesia de autoria feminina em língua portuguesa nos últimos anos, investigando os modos de deslocamentos (como tema e procedimento) que são apresentados nos seus respectivos livros: 20 Poemas para seu walkman (2007), Engano geográfico (2012), Um teste de resistores (2014), Câmera Lenta (2017), Parque das Ruínas (2018) e Expedição: nebulosa (2023).

Review

The article "Marília Garcia em deslocamento" proposes a timely and relevant analysis of one of contemporary Brazilian poetry's most significant voices. By focusing on Marília Garcia, celebrated as the first Brazilian woman to win the Oceanos Prize, the study positions itself within a crucial discussion concerning the evolving landscape of Portuguese-language poetry. The central objective, to recognize Garcia's voice as a pivotal example of female authorship and to investigate "deslocamento" (displacement) as both a thematic and procedural constant in her work, is well-defined and establishes a clear scholarly purpose for the research. The abstract outlines a commendable scope, listing six specific works spanning her career from *20 Poemas para seu walkman* (2007) to *Expedição: nebulosa* (2023). This comprehensive corpus promises a thorough and longitudinal analysis of how displacement manifests and evolves across Garcia's poetic trajectory. The intention to explore "modos de deslocamentos" as both theme and procedure suggests a nuanced analytical framework, moving beyond mere content analysis to delve into the structural and stylistic implications of this concept. This approach holds the potential to illuminate not only Garcia's unique poetic signature but also broader trends within contemporary poetics. This study has the potential to make a significant contribution to the understanding of Marília Garcia's oeuvre and to the broader field of Lusophone literary studies, particularly concerning female poetic voices. To further strengthen the analysis, it would be beneficial for the paper to articulate its theoretical grounding for "deslocamento," perhaps engaging with critical theories of space, migration, identity, or avant-garde poetics. Additionally, while the focus on Garcia is strong, briefly contextualizing her within a wider panorama of contemporary female poets might further underscore her distinctiveness and influence. Overall, the proposed research is intellectually compelling and offers a valuable perspective on an important figure in modern Brazilian literature.

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