Literatura, pintura e psicanálise na escritura de Osman Lins: reflexos do imagético em Nove, novena, Avalovara e A rainha dos cárceres da Grécia

• Ano de defesa: 2023
• Autor(a) principal: Carneiro, Raimundo Fábio Gomes
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Literatura; Pintura; Ut pictura poesis; Psicanálise; Osman Lins; Literature; Painting; Psychoanalysis; Psicoanálisis
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/73966

By analyzing the different verbo-pictorial aspects of Nove, novena (1966), Avalovara (1973) and A rainha dos cárceres da Grécia (1976), this work presents our thesis that the construction, use and unfolding of effects of meaning of the visual narrative poetics of Osman Lins take place primarily from metalinguistic and intersectional dialogues of this with the tradition of Ut pictura poesis. To do so, we probed in the embodiment of the formal materiality of his narratives the different ways in which his writing articulates the exchanges between the arts in the creation of a particular poetics centered on the constant interchangeability between verbal effects and imagery effects recorded in the space-time of the page, as a hieroglyphic graph of the possibilities of triggering meanings provided by the narrative act; characteristic that makes his fictional texts a considerable source of scrutiny of knowledge and non-knowledge intrinsic to the tense polynomial I/logos/verb/image/world that emanates as the cosmovision of his work. Our work therefore sought to observe the entities involved in Lins' metafictional and metafigurational narrative process as purely and ostensibly textual subjects in constant “image drive”. In our reading, implicated authors, narrators, secondary characters, all find themselves in full “poetic reverie” (BACHELARD, 1996, p.16) about the latent potentialities of figurative expression, when not, in the condition, themselves, of stage and witness to the process of dilution of the Saussurian Meaning in the “topological form” of the Graph of the pure Lacanian Signifier of desire (LACAN, 2002, p. 307 ), or in that of contemplators of the “tear in the fabric” of the images that reveals “the anadiomenal movement of the visual in the visible and of presence in representation” (DIDI-HUBERMAN, 2017, p.212). Hence the almost fusion of word and image constantly pursued and the continuous reflexive flow between the imagery effects arising from images external to the thinking subject – the world, institutions, the other, works of art, objects – and those he produces in your imagination – dreams, representations, mental images.