For a meaning of poiesis: 4 notes/interfaces

Critical Writing
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2008
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17-25
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Abstract (in English): 

Contrary to Walter Pater’s celebrated maxim that “All art constantly aspires towards the condition of music”, it is claimed here that the real aspiration is towards poetry, above all if we consider it as synonymous to poiesis, to creation in the broad and also extensive sense. Derived from the Greek term meaning ‘to make’ it can be applied to the whole invention of language (construction of forms) and to the reading of things (the cosmo-view of the world, of reality), it is more encompassing and applicable to the plural universe of records and the support of art and poetry. Furthermore, it would be oriented more towards poetry in the sense of reading not alienated from things, as Roland Barthes would say; in short, for a language other than the reified, repressed. This perspective is far from the particularly abstract ambition (almost of another world) that shows off music and sound, and approximates to the solidity and distance of poetry, because in essence it always dissolves between sound and feeling, between the concretion of language and its more distant and abstract materialization. Between the known feeling and that which is created. One understands poiesis as a live cell first, amplified, not just of poetry but of art.1 Poiesis as a defense of the inaugural creation of a language of another habitability, transverse writing, axial, as in a verse by Waly Salomão (“Poetry is axial”).

Abstract (in original language): 

Contrariamente à celebre máxima de Walter Pater de que todas as artes aspirariam a condição de música, defende-se aqui que o que realmente se almeja é a poesia, sobretudo se a consideramos como sinônimo de poiesis, de criação no sentido lato mas também extensivo. O termo grego herdado como primigênio aplica-se melhor a toda invenção de linguagem (de construção de formas) e de leitura das coisas (a cosmovisão de mundo, do real), é mais abrangente e aplicável ao universo plural de registros e suportes da arte e da poesia. Ou melhor, ele se orientaria mais para a poesia no sentido de leitura não alienada das coisas, como apontava Roland Barthes; em suma, para outra linguagem fora do reificado, do recalcado. Esta perspectiva se distancia por tanto da ambição particularmente abstrata (quase de outro mundo) que ostenta a música e o som, e se aproxima do jogo de concreção e distância da poesia, pois ela em essência se dirime sempre entre o som e o sentido, entre a concreção da linguagem e a sua materialização mais distante e abstrata. Entre o sentido reconhecido e aquele que se cria. Entende-se aqui, então, a poiesis como célula viva, primeira, ampliada, não só da poesia como da arte. Poiesis como defesa da criação inaugural da linguagem e de outra habitabilidade, escrita transversal, axial, como diz um verso de Waly Salomão (“Poesia é o axial”).

Pull Quotes: 

Poiesis deals with pre-language, the before and after of the language that wants to come from language. In this sense, this fantasy is intended more for poetry than for music, because the latter can already count on an instrumental hiatus, a morphologic-semantic separation, something that poetry still has to start, create, construct. A creation in another sense, a displacement produced with the material of signs and significance that is the language of the community. Thus this contemplation of poiesis doesn’t just bring memories of these attributes, this field, but also shelters not just one sense of the more ample and profound of the poetic than the mere literary adjective, including procuring the degree of excellence of things, of its different view, this “do whatever, splendid in its divergence and distinction, whatever thing”, in the heideggerian vision. This refusal of the ‘thingfied’ form of the world, of its appearances, signifies
a wager on poetry as the last truth in art.

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Luciana Gattass