Paulo Alexandre Cardoso Pereira
Although the memory of troubadour poetry only surfaces intermittently in 20th and 21st century Portuguese poets, its persistence gives evidence of an intertextual continuum, leaving no doubt as to the impressive posterity of medieval poetic tradition. The retextualization of the Iberian lyrical genres –particularly that pertaining to the cantiga de amigo–, as illustrated by numerous poetic pastiches and parodies, gives evidence of the rhetorical, ideological and symbolic versatility of a poetic legacy that has never ceased to instigate (re)creation, well beyond its time of composition and circulation. In this article, drawing on the analysis of selected poems by female Portuguese contemporary poets belonging to different generations –Maria Teresa Horta, Natália Correia, Ana Luísa Amaral, Adília Lopes, and Catarina Nunes de Almeida–, we discuss the ways in which, by poetically replying to the medieval cantiga de amigo, they have succeeded in disrupting the “sexual politics” underlying this poetic genre, making it voice contemporary gender trouble.
Mesmo que intermitente, a presenza da memoria trobadoresca na poesía portuguesa dos séculos XX-XXI permite identificar un continuum intertextual que non deixa dúbidas sobre a impresionante posteridade do repertorio poético medieval. A resemantización da tradición lírica peninsular da Idade Media –e, en particular, da cantiga de amigo–, ilustrada polas súas moitas reescrituras contemporáneas, documenta a plurifuncionalidade –retórica, ideolóxica, simbólica– dunha poesía que non deixou de interpelar creativamente, alén daquel que foi o seu tempo de vixencia histórico- periodolóxica. No presente artigo, partindo da análise de poemas seleccionados de autoras portuguesas contemporáneas de diferentes xeracións, discútese o modo como, a través das réplicas poéticas que todas concibiron para as cantigas de amigo, conseguen deconstruír a “política sexual” do xénero medieval, converténdoo en vehículo dun gender trouble contemporáneo.
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