A moça tecelã: an inspiring text

Abstract

The construction of the text by Colasanti (2012), “A moça tecelã”, is about making a text, which we are taking as an object of analysis of textual construction, whose design is traced by the movement of the hands of the artificer manipulating the shuttle, the loom, the threads that construct the writing, from its degree zero, as a result of its deconstruction. The making of a provocative text such as that of Marina Colasanti, presented in the title, demands a series of theoretical readings to accompany its building design. In view of this, the purpose of this article is to analyze the text construction. “Weaving was everything she did. Weaving was all she wanted to do [...] and weaving brought herself the time.” This statement of Colasanti (2012, p.12) marks the construction of a text, where each loop is a phoneme and each stitch constructed is a sense. Thus, we turn to Genette (2010, p. 7) that investigates the production of the text through the palimpsest. What is the palimpsest?  For him, it is “a parchment whose first inscription was scraped to trace another, which does not conceal it in fact, so that one can read it by transparency, the old under the new.” This reading of the old under the new was made in the text of Colasanti (2012), illustrating Genette’s theory, regarding the creation of the text. In this way, it allowed us to navigate the hypertext and the hypotext, constructions of transtextuality, which can be made by transformation and imitation. We study Genette also in a text by Borges, because he proposes that there was always only one text and only one author, thinking about the hypertext and the hypotext. This reading strategy allows the text not to be told, but it tells itself. With the successive scraping, the reader will find the origin, the primitive text; in this course, will perceive transtextuality, a text entering another text.