Jogos sonoros no barroco brasileiro: sentido e nonsense nos poemas por "consoantes forçados"

Abstract

Experts often refer to the experimental dimension and the linguistic work of the Baroque, but little attention has been given to the sound aspect in its articulation with the production of meaning, particularly in terms of rhyme. Some Baroque poets born in Brazil (or Portuguese America) stand out in this matter when compared to their closest counterparts (from the Portuguese metropolis or even Spain). In texts by these authors it is possible to detect: a) on the one hand, a kind of struggle between the oral and the written (and in some way also between what is seen and what is read) - these poems seem conceived for orality and, therefore, for collective recitation and listening, thus having a clear performative dimension; b) on the other hand, a kind of fight against the meaning, which ends up diluted - either by repetition or by the insistence on strange sounds. According to the author of this paper, this practice has a subversive dimension: beyond the particular, corrosive effect in each poem, it provokes a more general consequence, which calls into question language as a structuring and organizing principle of the world. The goal of the article is, therefore, to support this idea and exemplify this practice, with the analysis of concrete examples.