Veronica Stigger and the spirit of 22

Abstract

It developed a reflection on around the Veronica Stigger’s writing procedures that revitalizes in Brazilian contemporary literature the experimentalisms and transgressions made since the week of 22. Her fictional work shows a fragmented diction as well as it highlights humor, intertext, intersemiotic, irony, parody and transgressed style. Stigger follows the track of Oswald de Andrade’s manifests published as in Klaxon (1922) as next few years, such as Manifesto da poesia pau Brasil, Memórias sentimentais de João Miramar (1924), Poesia pau Brasil (1925), Manifesto antropófago (1928) and Serafim ponte grande (1933), and also Movimentos modernistas do Brasil (1922-1928) and Cobra Norato (1931), by Raul Bopp. Through reading of the work Opisanie swiata (2013), examine how Stigger reverberates the spirit of 22, mainly by appropriation of biographic and fictional elements of Oswald, Mário, Tarsila e Bopp, mixing and creating new writing contexts according to the post-autonomous literature.