O signo identificante: a dimensão ética no experimentalismo de Julio Cortázar em Rayuela

• Ano de defesa: 2019
• Autor(a) principal: Santos, Lia Leite
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Cortázar, Julio Florencio (1914-1984); Rayuela; Ética; Homo Ludens
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/50663

A literature that proposes an instrument of liberation of the human spirit can’t be done through a language linked to a system of imprisoning values. Based on this premise, this work undertakes an analysis of the Language Games, and the ideology that ascribes meaning to its implementation, in Julio Cortázar's novel Rayuela (1963). For this, we extracted three categories of the text that appear in the voice of the character-narrator Horacio Oliveira: la ética, la cosquilla, la-lengua. Directing us to the examination of the ethical imperative, of the discursivity playful and of the transgression of the language, in the thematic-figurative construction of the work. In order to understand the ethical category, we establish a comparative reflection between the cortezarian statement and the philosophical thought of Espinosa (1632- 1677) present in the Ethics (1677), observing in the novel the isotopias illustrated by the metaphysical objects Center, Unity and Absolute. The tickle will be considered by the prism of the theory Homo Ludens (1938), by the author Johan Huizinga, bringing us to a property about the relation between games and poetry, play and literature. The language category will be investigated through the research of the critical and theoretical texts about aesthetic subversion by Cortázar's own, and of the metadiscourse present in the novel, through the voice of the Morelli character. In possession of these analytical considerations, we will dissect the anatomy of the romanesque body, in transmutation through the Language Games. We turn to the experiments of chapters <68>, <90> and <34>, which correspond, respectively, to the glyglic dialect, the hachismo, and the parody of Perez Galdós. Investigating in these texts the formal structure, syntactic configurations, as well as the ideological apparatus that makes this project of aesthetic transgression, which is Rayuela, an emblem of poetic emancipation of being.