Detalhes bibliográficos
| Ano de defesa: |
2023 |
| Autor(a) principal: |
Oliveira, Débora Lima Dantas de
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| Orientador(a): |
Bastazin, Vera Lúcia
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Literatura e Crítica Literária
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://repositorio.pucsp.br/jspui/handle/handle/41042
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Resumo: |
The research comprehends the perception of space as a metafictional creation from the perspective of the artist-researcher in the context of Literary Criticism – here referred to as artist-critic. Thus, we aim to understand metafiction not only as a literary device but as a procedure of interpretative perception. To achieve this, we have selected, as our corpora, the animated film Spirited Away (2001), directed by Hayao Miyazaki, and .metapôster (2021), created by artist and researcher Débora Lima. By considering creation as a fictional gesture, we question how the creative process of the artist-critic reveals their perception of space and what clues indicate the relationship established among creation, space, and the artist-critic. We establish an analogy between the artist-critic and the character (Chihiro), paying attention to the similarities between self-perception (autocreation) and the perception of the world (visualspatiality). Through a hypothetical-deductive approach, we highlight the hypothesis of a continuous and overlapping relationship among creation, space, and the subject. Thus, metafictionality is constituted as an effect of this perception, as in the animation and in the artist-critic's journey, self-perception, and spatial perception overlap. Regarding the theoretical framework, we emphasize Cecília Salles' (2006, 2010, 2011, 2017) process criticism as a fundamental reading. However, we also resort to other theoretical and artistic readings to expand on some of the points raised in our work. Therefore, we approach literary fictionality based on Iser's (2013) logic of duplication; the connections between perception and creation explored by Ostrower (2013, 2017), the perspective of metafiction in materials of different languages by Bernardo (2010), and the understanding of autofiction present in the lyrics of the song “Eu e mim” (2003c) by Rita Lee and in the figure of the artist-critic presented by Leyla Perrone-Moises (1978, 1998). These authors and composers constitute the interpretive framework for our corpora. The dissertation also presents our own poetically critical experiments to evoke new language compositions based on theoretical readings, proposing, in these insertions, a departure from academic technicality. Throughout the research, our hypothesis is confirmed, with the caveat that the space itself cannot be essentially constituted as a metafictional creation but rather the surroundings. In this context, we consider that the overlap of perceptual experiences materializes between spatial perception and self-perception, opening the possibility for mutual dialogue. This relationship is metafictionally in alterity through doubles: character-artist, character-critic, artist-critic, artist-space, and character-space. However, these doubles also interrelate, repositioning themselves in multiplicity – surroundings |
