Noite veloz na periferia do capitalismo: “modernização nacional-popular abortada” e superacumulação autocrática de capital na poesia de Ferreira Gullar em “Dentro da noite veloz” (1962 –1975).

Abstract

This paper historically analyzes Ferreira Gullar's literature between 1962 and 1975, based on his book “Dentro da Noite Veloz”, seeking to highlight how the poet literarily structured certain aspects of the social process related to the failure of the left-wing national-popular modernization and the consolidation of peripheral capitalism in Brazil after the 1964 military-business coup. In this sense, we start from the relationship between historiography (based on René Dreifuss, Florestan Fernandes, and Chico de Oliveira) and Marxist critical-literary theory (inserting itself in the tradition of Antonio Candido and Roberto Schwarz, but also based on the reflection of authors such as Theodor Adorno and Gyorgy Lukács). Therefore, we seek to demonstrate that, to the extent that the corporate-military coup had consolidated a peripheral capitalism in Brazil, based on a process of overaccumulation of capital, and the project of national-popular modernization had failed, Ferreira Gullar's literature also changed, structuring these social and political contradictions in his works. We can therefore observe how, in Ferreira Gullar's poetry, the national-popular aesthetic and the structure of feelings characterized by Marcelo Ridenti as “Revolutionary Brazilianness”, with its triumphalist, dualist and pamphleteering themes and forms of the poems written before the coup, changed after 1964, giving rise to contradictory/dialectical, existential and melancholic poems. We propose the hypothesis that this change was caused by the failure of national-popular modernization and, consequently, by the existence of historical structures related to the fragmented social process that were mimicked by Ferreira Gullar's poetry, becoming a formal literary principle, which we seek to call vertigo. This would result, from the point of view of the sociology of art, in an aesthetic different from the “Revolutionary Brazilianness” that we seek to name “Melancholic-Revolutionary Existentialism”.