Para un barroco sin nombre: aproximações à estética onettiana em Cuando ya no importe (1993)

• Ano de defesa: 2018
• Autor(a) principal: Guethi, Amanda Fanny
• Orientador(a): Alves-Bezerra, Wilson
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de São Carlos; Câmpus São Carlos
• Programa de Pós-Graduação: Programa de Pós-Graduação em Estudos de Literatura - PPGLit
• Palavras-chave em Português: Barroco; Romance-testamento; Herança cervantina; Literatura hispano-americana
• Palavras-chave em Espanhol: Onetti, Juan Carlos, 1909-1994; Cuando ya no importe
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURAS ESTRANGEIRAS MODERNAS
• Link de acesso: https://repositorio.ufscar.br/handle/20.500.14289/10292

Since at least the 1950s, the fictional work of the Uruguayan writer Juan Carlos Onetti (1909-1994) has been read by a portion of specialized criticism from a supposed Baroque aesthetic: for others, Onetti's work would be baroque , for other non-baroque, both positions being understood as valuing depending on the objective of the critical appreciation and the conception regarding the literary that sustains such positions. This can be noticed, on the one hand, in the significant number of critical texts that approximate Onetti's literature to the Baroque, and, on the other, in the establishment of a set of elements that specify the Onethean style, but which functions both to affirm it as typically baroque - and exalting him for it - as if to deny it - which, too, earned him praise. From a reading i) that organizes the critical reception of the work of Juan Carlos Onetti, apprehending, in it, the discussions about the baroque, namely: criticism of observation (subdivided in criticism of negation, critic of drama and critical enthusiasm) and criticism of conceptualization (latent baroque, baroque fiction, open work and Cervantine heritage); ii) and who rescues the assumptions of his poetry in the set of his journalistic chronicles published in the Semanario Marcha (1939-1941) and his letters to his friend Julio Payró, this dissertation aims to analyze the latest Onetti novel, When (1993) as a novel-testament, with which the author closes the history of the city of Santa María and resumes, concluding, the process of his literary work, in the form of a diary that, as a genre, holds the narration of facts and comments on the narration act. In this analysis, the concepts of literary chronotope (BAKHTIN, 1990), of absurd subject and work (CAMUS, 1995) and of modern fiction (COSTA LIMA, 1986) are mobilized because, together, they allow to articulate the structural and thematic significance of the diary to the artistic presuppositions of the Uruguayan writer, emphasizing that the mentioned elements corroborate the substitution of the baroque adjective for cervantino.