Citation

Martinez LT. Veredas 2022; (37): 187-195.

Copyright

(Copyright © 2022)

DOI

10.24261/2183-816x1437

PMID

unavailable

Abstract

"The Laugh of the Medusa" (1975) and the critique of progress and History present in Walter Benjamin thought, this article reads three poems of Brazilian poet Tatiana Pequeno: "museu nacional", "museu nacional.2" and "querida", all of them extracted from her book Onde estão as bombas (2019). The hypothesis is that if one perceives feminine writing as an articulation of a singular kind of temporality that both induces breaks in homogenizing history and engenders potentially transforming appointments between personal and collective histories, one can - then - classify feminine writing as modes of rewriting History. In that way, they can be seen - along with Walter Benjamin - as revolutionary. This word identifies in Tatiana Pequeno's poetry those echoes of revolution, this ruptures in History. © 2022 Veredas. All rights reserved.

Language: pt

Keywords

women; time; Walter Benjamin; female writing; Tatiana Pequeno