The saint who pulled up the skirt and the word witch: the lyrical voices of subversion in Hilda Hilst and Maria Teresa Horta
The poetries by Maria Teresa Horta and Hilda Hilst converge in several aspects, amongst which the idea of subversion. They create a feminine body that is the subject of its own desires. Both Horta and Hilst write texts that use the word as the instrument of that insurrection, manifestations of the f...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2022 |
| País: | Brasil |
| Institución: | Real Gabinete Português de Leitura (RGPL) |
| Repositorio: | Convergência Lusíada (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.convergencia.emnuvens.com.br:article/507 |
| Acceso en línea: | https://www.convergencialusiada.com.br/rcl/article/view/507 |
| Access Level: | acceso abierto |
| Palabra clave: | Maria Teresa Horta Hilda Hilst subversion feminine body poetry subversão corpo feminino poesia |
| Sumario: | The poetries by Maria Teresa Horta and Hilda Hilst converge in several aspects, amongst which the idea of subversion. They create a feminine body that is the subject of its own desires. Both Horta and Hilst write texts that use the word as the instrument of that insurrection, manifestations of the fight to conquer the right to not being in an objectified condition of an existence submitted to masculinity. This article starts from those ideas to discuss the poems “Retrato de uma Fidalga de Lisboa”, from Eu Sou a Minha Poesia (2019), and “Fazer Amor Contigo”, from Paixão (2021), both by Horta, and “I” and “II”, by Hilst, published in Da Poesia (2017). To do so, the article uses the theoretical scope of feminine critique to analyze the relations of subversion between the Occidental feminine figure and the images built in their texts. |
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