In this way, he beckons to his presence with more or less acceptance in two domains that, although complementary, not always converge to his conclusions: (specialised) criticism and (general) public. in his study about the literary universe, since the degree of recognition of a writer corresponds to the great or little of his or her symbolic capital in the field, devaluing or overvaluing the kind of literature produced by him/her.
As regras da arte - Gênese e estrutura do campo literário. This inaugural question unfolds into the notion of internal hierarchisation, according to Bourdieu (1996) BOURDIEU, P. p.57) some of the “effects and conditions of celebrity: public recognisability, the interplay of envy, admiration, generous acclaim, malicious denigration, prurient attentiveness, swift indifference.”Īn expressive, even if preambular question, is whether it is not through the excellence of their work (so it should be extra-artistic factors should never influence critical assessment!), that this central presence is what makes these authors relevant for the history of poetry, resulting, in effect, in their inclusion in the literary canon. in Brief History of Celebrity (Inglis, 2010. However, they still occupy noble spaces within the sphere of cultural production and, consequently, also in the context of their consumption. Princeton, NJ: Princeton University Press, 2010. Prominent figures within the field of culture, like poets, cannot be considered media celebrities because they do not meet the totalising credentials of visibility according to Inglis (2010). In this discussion, we mobilise concepts of literary theory, of the interface between communication and consumption and of the precepts of the French Discourse Analysis.Ĭonsumption Discourse Style Precarious Manoel de Barros Thus we approach some characteristics of his stylistics, above all the reiterated exploitation of certain elements of the natural world (specially its emphasis on the “precarious” things and beings) and the linguistic inversions (which defy normative grammar), responsible for the “differentiating mark” of his work, which, in order to impose itself, deliberately moves away from the hegemonic path. The criticism dedicated to the poet from the Brazilian State of Mato Grosso/ Mato Grosso do Sul Manoel de Barros is wide-ranging, but in spite of the many approaches to his work, undertaken by the specialists of the literary field, according to us, it is still necessary to investigate, although briefly, the relevance of his discursive strategy, on the basis of the relationships between his poetical universe and the phenomenon of consumption.
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