REPETIÇÃO E SINGULARIDADE EM KALAHARI (LUIS SERGUILHA)

Abstract

The present work aims to analyze the Portuguese poet Luis Serguilha‟s work The Kalahari, observing aspects related to repetition and uniqueness as part of the autopoetic performance; knowing that the work is situated in a zone of no bondaries of postmodern or contemporary, seeking to examine the literary composition procedures and the writing that make it a war machine in the Deleuze - Guattari sayings. The contemporary work is rhizomatic, desiring machine, boddy whithout organs, deterritoriality in flux. As this machine‟s assumptions, we have the decentralization, the desubjectivity, the dereference and the nonsense. In this work, nothing else will hold us back to the meaning and significant‟s meshes.Knowledge known only by those who mobilize affections and who vibrate through madness, from emptiness and animality: the art‟s signs. The work of art here is an uniqueness instance and repetition; subjectivation artifice. Uniqueness is an affirmative because it is also becoming (devir); Becoming (Devir) as a process connected to repetition that decentralizes the being, through a disjunctive synthesis, in a way that it will not be spoken about the totality of the being and the work, but in totalities. There is no more paternity, neither origin, nor destiny because in this work, the sign-art becomes a nomad in the desert. Cartographing this nomadism in the Kalahari‟s autopoiesis is to walk as a wanderer, by Blanchotiano‟s „outside‟, being deterritorialized and reterritorialized; becoming a writer-reader for himself, for the world, for life.