{"id":6776,"date":"2010-04-18T10:39:32","date_gmt":"2010-04-18T13:39:32","guid":{"rendered":"http:\/\/wellingtondemelo.com.br\/site\/?p=6776"},"modified":"2022-01-18T21:39:06","modified_gmt":"2022-01-19T00:39:06","slug":"visoes-do-ultrarromantismo-melancolia-e-modo-ultrarromantico","status":"publish","type":"post","link":"https:\/\/www.wellingtondemelo.com.br\/site\/2010\/04\/18\/visoes-do-ultrarromantismo-melancolia-e-modo-ultrarromantico\/","title":{"rendered":"Vis\u00f5es do Ultrarromantismo: melancolia e modo ultrarrom\u00e2ntico"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"6776\" class=\"elementor elementor-6776\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-201609bf elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"201609bf\" data-element_type=\"section\" data-e-type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-4320147d\" data-id=\"4320147d\" data-element_type=\"column\" data-e-type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-41d5ee1 elementor-widget elementor-widget-text-editor\" data-id=\"41d5ee1\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: right;\"><span style=\"background-color: #ffffff;\">\u00a0Por Andr\u00e9 de Sena <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_6776_1('footnote_plugin_reference_6776_1_1');\" onkeypress=\"footnote_moveToReference_6776_1('footnote_plugin_reference_6776_1_1');\" ><sup id=\"footnote_plugin_tooltip_6776_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_6776_1_1\" class=\"footnote_tooltip\">WANDERLEY, Andr\u00e9 de Sena,\u00a0Vis\u00f5es do Ultrarromantismo: melancolia liter\u00e1ria e modo ultrarrom\u00e2ntico. \u2013 Recife: O Autor, 2010. 540 folhas.Tese (doutorado) \u2013 Universidade Federal de Pernambuco.&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_6776_1('footnote_plugin_reference_6776_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_6776_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_6776_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3ccd5eae elementor-widget elementor-widget-text-editor\" data-id=\"3ccd5eae\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: left;\">O segundo autor aludido, o jovem poeta recifense Wellington de Melo (1976-), que\u00a0ainda expande as asas no universo da cria\u00e7\u00e3o liter\u00e1ria, no poema intitulado <i>[desvirtual\u00a0provis\u00f3rio]<\/i> (sic) (2008), tamb\u00e9m se utiliza de v\u00e1rios <i>topoi <\/i>ultrarrom\u00e2nticos na constru\u00e7\u00e3o\u00a0deste trabalho conceitual que busca cantar os embates t\u00e9cnofilos\u00f3ficos entre o homem e a\u00a0m\u00e1quina. Mas, mesmo em se tratando de uma tem\u00e1tica bastante contempor\u00e2nea, ainda se v\u00ea a\u00a0antiga forma do treno insuflando a melancolia disf\u00f3rica do texto, que realiza os experimentos\u00a0ic\u00f4nicos t\u00edpicos da poesia vanguardista, como se pode ver no excerto de prosa po\u00e9tica\u00a0intitulado \u201cPre\u00e2mbulo \u00e0 m@quina\u201d (2008: 13):<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f9a15ce elementor-widget elementor-widget-text-editor\" data-id=\"f9a15ce\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>Por\u00e9m, no transcurso da leitura de [desvirtual provis\u00f3rio] a possibilidade entrevista pelo \u00faltimo verso acima transcrito (\u201cserei livre\u201d) n\u00e3o se cumpre. Dos embates filos\u00f3ficos entre a consci\u00eancia do homem e o ser-estar das m\u00e1quinas no contexto moderno resulta apenas o nada, uma aporia in\u00fameras vezes presentificada na s\u00e9rie de poemas que comp\u00f5e o livro.<\/p><p>N\u00e3o h\u00e1 diferen\u00e7a ou limites entre o espa\u00e7o do nada e o nada do cyberespa\u00e7o (visto como \u201cum lugar triste para a palavra\u201d \u2013 idem: 44), como afirma o poema \u201cMundo plano\u201d (ibidem: 34):<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b2201b2 elementor-widget elementor-widget-text-editor\" data-id=\"b2201b2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>\u00c9 muito simb\u00f3lico o fato de que o sema \u201cNada\u201d seja o primeiro, neste poema, grafado com inicial mai\u00fascula. A ele se ligam outros semelhantes (\u201cPlanimundo\u201d, \u201cImundamente\u201d e \u201cPlano\u201d), a configurar uma atmosfera de inadequa\u00e7\u00e3o \u00e0 realidade t\u00edpica do modo ultrarrom\u00e2ntico, com as tradicionais hip\u00e9rboles do discurso melanc\u00f3lico disf\u00f3rico. Indo contra a euforia tecnol\u00f3gica t\u00edpica do hodierno, a escritura melanc\u00f3lica de Wellington de Melo perpassa v\u00e1rios outros poemas do livro, a exemplo de \u201cObrigado\u201d (ibidem: 51):<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-59466d6 elementor-widget elementor-widget-text-editor\" data-id=\"59466d6\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>A aporia tamb\u00e9m pode aparecer num contexto imag\u00e9tico contempor\u00e2neo. De s\u00fabito, do trabalho\/embate cotidiano com a \u201cm@quina\u201d irrompe o mal-estar t\u00edpico do modo ultrarrom\u00e2ntico e a \u00faltima estrofe desse poema (\u201cent\u00e3o de nada \/ necessitas. \/ de nada.\u201d) pode at\u00e9 mesmo sugerir uma certa aliena\u00e7\u00e3o que possui elos com aquele topos do convite liter\u00e1rio ao suic\u00eddio. E o fim do livro-poema, apesar de uma nota do autor emp\u00edrico na qual\u00a0 pretende se afastar do niilismo, atesta novamente a vit\u00f3ria do v\u00e1cuo e do modo ultrarrom\u00e2ntico em \u00e2mbito contempor\u00e2neo, na parte \u201cVI\u201d do poema \u201cP\u00f3\u201d (ibidem: 76):<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-313fb02 elementor-widget elementor-widget-text-editor\" data-id=\"313fb02\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p>\u201cVazio\u201d e \u201cNada\u201d, novamente os \u00fanicos semas cujas iniciais s\u00e3o mai\u00fasculas, concluem o poema de maneira fragmentada e inconciliadora, associados, segundo o eu-l\u00edrico, \u00e0 \u201cconsci\u00eancia\u201d (tamb\u00e9m) fragmentada do tempo de hoje. Este e outros poemas demonstram que o modo ultrarrom\u00e2ntico se adapta aos mais diversos contextos e imagin\u00e1rios ficcionais \u2013 e assim o ser\u00e1 por muito tempo ainda \u2013, fecundando-os com suas cores e matizes melanc\u00f3licos t\u00e3o caracter\u00edsticos.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_6776_1();\">References<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_6776_1();\">[<a id=\"footnote_reference_container_collapse_button_6776_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_6776_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_6776_1('footnote_plugin_tooltip_6776_1_1');\"><a id=\"footnote_plugin_reference_6776_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">WANDERLEY, Andr\u00e9 de Sena,\u00a0<\/span><i style=\"background-color: #ffffff;\">Vis\u00f5es do Ultrarromantismo<\/i><span style=\"background-color: #ffffff;\">: melancolia liter\u00e1ria e modo ultrarrom\u00e2ntico. \u2013 Recife: O Autor, 2010. 540 folhas.Tese (doutorado) \u2013 Universidade Federal de Pernambuco. CAC. Teoria da literatura, 2010.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_6776_1() { jQuery('#footnote_references_container_6776_1').show(); jQuery('#footnote_reference_container_collapse_button_6776_1').text('\u2212'); } function footnote_collapse_reference_container_6776_1() { jQuery('#footnote_references_container_6776_1').hide(); jQuery('#footnote_reference_container_collapse_button_6776_1').text('+'); } function footnote_expand_collapse_reference_container_6776_1() { if (jQuery('#footnote_references_container_6776_1').is(':hidden')) { footnote_expand_reference_container_6776_1(); } else { footnote_collapse_reference_container_6776_1(); } } function footnote_moveToReference_6776_1(p_str_TargetID) { footnote_expand_reference_container_6776_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: 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Melo<\/p>\n","protected":false},"author":1,"featured_media":11270,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[122],"tags":[1000,86,1003,210],"class_list":["post-6776","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-critica","tag-critica","tag-desvirtual-provisorio","tag-literatura","tag-poema"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Wellington de Melo | Tese de Andr\u00e9 de Sena Wanderley (fragmento)<\/title>\n<meta name=\"description\" content=\"Trecho da tese de doutorado de Andr\u00e9 de Sena, citando a obra [desvirtual provis\u00f3rio], de Wellington de Melo\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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