A backland americonegroíndio: the neobaroque in Solo para Vialejo, from Cida Pedrosa

Abstract

This article aims to propose a discussion between the work Solo para vialejo, by the poet Cida Pedrosa from Pernambuco (2019), and the two basic mechanisms for understanding neobaroque literary productions (Sarduy, 1979). The research is a descriptive study that presents an overview of Cida Pedrosa's poetics with a focus on the selected piece, it also describes the distances and similarities between the historical baroque of Europe and the neobaroque of Latin America, and an analysis of the metalanguages from neobaroque contained in Solo para Vialejo, in order to understand the consequences of this aesthetic in contemporary times. The analysis is guided by the studies of Severo Sarduy (1979), who proposes an operative scheme for understanding the neobaroque from a Latin American perspective; Irlemar Chiampi (2010; 2015), who deals with the cycles of the baroque and its possibilities for recycling in aesthetic and historical modernity, as well as Haroldo de Campos (1975; 2021) regarding the inclusion of the baroque within a non-linear historiography of brazilian literature, from the perspective of a convergence with modernity through language. Therefore, it is previously concluded that Pedrosa's piece is analyzed in the light of these literary studies, allowing the neobaroque aesthetic to be noticed as an integral element of the multifaceted style of the work in question.