A HISTÓRIA DESFIGURADA: DESTERRITORIALIZAÇÃO E EXPERIÊNCIA DO FORA EM AMAR-TE A TI NEM SEI SE COM CARÍCIAS, DE WILSON BUENO

• Ano de defesa: 2015
• Autor(a) principal: Souza, Marco Aurélio de
• Orientador(a): Oliveira, Silvana
• Banca de defesa: Weinhardt, Marilene , Benatte, Antonio Paulo
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: UNIVERSIDADE ESTADUAL DE PONTA GROSSA
• Programa de Pós-Graduação: Programa de Pós Graduação em Linguagem, Identidade e Subjetividade
• Departamento: Linguagem, Identidade e Subjetividade
• País: BR
• Palavras-chave em Português: romance histórico; desterritorialização; Gilles Deleuze; Felix Guattari
• Palavras-chave em Inglês: historical novel; deterritorialization; Gilles Deleuze; Felix Guattari
• Área do conhecimento CNPq: CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA
• Link de acesso: http://tede2.uepg.br/jspui/handle/prefix/402

This research proposes, based on Deleuze and Guattari’s philosophy, a rhizomatic reading of the historical novel Amar-te a ti nem sei se com carícias (2004), by the Paranaense writer Wilson Bueno. By reviewing the most relevant theoretical tendencies related to the fictional genre (HUTCHEON, 1991; MENTON, 1993;ESTEVES, 2010), I criticize the didacticism found in these theories. By the mapping of the incipient criticism works of Bueno’s novel, I present a deviation related to these preview works, aiming at a concept of literature closer to the cathartic and deterritorialization function of the esthetic text. To do that, I try to define the historical novel specificity, describing it as a private manifestation of the historical social imagination (BANN, 1994) that puts into practice images from the past (ANKERSMIT, 2001). In this perspective, however, the literary writing is characterized by the way a writer disconnects these images from the past and puts his reader in touch with a non-place, making it possible, through the use of language, a hollowing out experience. To promote this reading, I make use of rhizomatic perception of the literary phenomenon, such as Deleuze and Guattari present it in Mil Platôs (2011), identifying, in the novel, lines of hard, molecular and abstract segmentarity. So, I understand the images from the past to be mobilized in the fiction as components of the novel’s hard segmentarity line, placing, as a next step, the literary resources that work with what Deleuze and Guattary named quantums of deterritorialization. But if the fiction historical meaning is affected by the molecular segmentarity line, it is in the abstract segmentarity line that, with greater intensity, it disappears and leaves room for a dive in the other of all worlds (BLANCHOT, 1997; LEVY, 2011). Thus I identify the moment of the novel’s abstract segmentarity line when everything takes place in terms of a savage and implacable present. The abstract segmentarity line makes the historical novel an experiment about the limits of a historically determined society, showing the possible fissures on the subjectivity wall from a past time, deforming History, promoting the contact with its hollowing out.