Confluências plásticas e intersemióticas em Água viva

Clarice Lispector's Água viva [1973] can be read as a project of a linguistic resignification. For this, it is necessary to understand the context in which it is set, the third phase of literary Modernism in Brazil. The movement, not only in its literary segment, influenced by European vanguards such as abstractionism (and the denial, too, of the discursive figure in the text), surrealism etc., found new incorporations in Latin America, resulting in genuine productions which were consolidated, breaking away from mimetic Romanticism and establishing the mark of a production that incorporated elements of Brazilianness. The enunciation in Água viva brushes up effects of musical intonation and iconographic plasticity to address the form and the non-form, on the threshold between them, in the construction of this iconoclastic project permeated by moments sometimes of abstraction, sometimes of figurativity. We present some keys for this reading of the book in this paper.