A sátira aos mecanismos biopolíticos na tetralogia obscena de Hilda Hilst

• Ano de defesa: 2023
• Autor(a) principal: Rocha, Carlos Alexandre da Silva
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Espírito Santo; BR; Doutorado em Letras; Centro de Ciências Humanas e Naturais; UFES; Programa de Pós-Graduação em Letras
• Palavras-chave em Português: Narrativa brasileira contemporânea – Hilda Hilst; Sátira; Biopoder; Letras
• Link de acesso: http://repositorio.ufes.br/handle/10/12686

In 1989, Hilda Hilst announced that she would stop producing serious literature and that she would write pornographic and obscene books; in 1990, she released O caderno rosa de Lori Lamby, the first book that made up her obscene tetralogy, followed by Contos d'escárnio & textos grotescos, from 1990, Letters from a seducer, from 1991, and Bufólicas, from 1992, the only one in verse. In these works, the author, based on satire, mocks and lays bare the confessional biopower. Thus, this thesis has as its corpus Hilst's obscene tetralogy, in which there is the lowering of sovereign and disciplinary biopower, studied by Michel Foucault ([1984], 2001), and the mechanisms of power of the control society, enunciated by Gilles Deleuze ([1995] 2013). By highlighting the use of confession in the narration of the narrators Lori, Karl, Crasso and the auric figures of Bufólicas, Hilst undermines this technology of power, demonstrating, in a way, that her project would have the function of satirizing the pornographic and confessional genre marketed at the time of publications. In this sense, the work is a theoretical study that analyzes the satire on biopower present in the obscene tetralogy, relating it to the notions of sovereign, disciplinary society and control, under the aim of the reflections on the subject of Achile Mbembe (2018), Vladimir Propp ([1976] 1992), Linda Hutcheon ([1984] 1985) and Henri Bergson ([1941] 1987), in addition to the previously mentioned theorists. The objective is to investigate how satire is carried out in the obscene tetralogy and how Hilda Hilst composes a set of works in which confession satirizes the very act of mapping oneself in front of the world.