O escritor e o poeta nas vitrines
| Ano de defesa: | 2007 |
|---|---|
| Autor(a) principal: | |
| Orientador(a): | |
| Banca de defesa: | |
| Tipo de documento: | Tese |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Programa de Pós-graduação em Letras
letras |
| Programa de Pós-Graduação: |
Não Informado pela instituição
|
| Departamento: |
Não Informado pela instituição
|
| País: |
Não Informado pela instituição
|
| Palavras-chave em Português: | |
| Link de acesso: | https://app.uff.br/riuff/handle/1/17795 |
Resumo: | This study considers an interpretative reading of the literary discourse present in Budapeste, a novel by Chico Buarque, in an attempt to detail, in the enunciative game of the narrative, not an enunciative subject, but a polyphonic constellation of subjects, which, in the fictitious relation among themselves, emerge historical, social and ideological questions that cross them, such as the literature itself. To reflect about the polyphony fiction itself, thus on the novel itself, we will start with the premise that the narrative by Chico Buarque, much more than a metanarrative, constitutes a fictional scene of the learned culture universe itself, understood as one amongst other forms of communication, mainly if considering the contemporary society, marked by the mass culture. Fictionalizing the learned culture, in the production, spreading and circulation scope of literary texts, Budapeste, through the figure of double, mainly under the ghost writer form, as a double of the public author, becomes an appropriate narrative to think, for example, about the relation between discursive fields, as double of each other, as well as a relation between the social- historical context from the so-called market societies, with the language, whose destination is in the society that speaks it in compliance with Bakhtin. Through a transdisciplinary perspective, departing from the discourse analysis, we will not only dialogue with the linguistics, the theory of the literature, the philosophy, the anthropology, the psychoanalysis, but we will also try to evidence the hypothesis that the singular in literature and, specia lly in Budapeste, when fictionalizing the question of the double one, does not inhabit in this last one, but in the challenge to surpass it. Thus, if the society where we live is weaved and interweaved by an endless double net, or of dichotomies (reality versus fiction, explicit author versus ghost writer, fame versus anonymity, fictional narrative verses poetry, masculine versus feminine), the language also brings these duplicated scars, practically obligating us to inscribe ourselves, as language beings, in the extremes of these polar regions, instigating us to think and to constitute subjectivities from them, as writers, poets, known, unknown, men and women. Making use of concepts such as ideologeme, by Bakhtin, impossible exchanges, by Baudrillard, reification, by Marx, function author, by Foucault, territorialization and deterritorialization, by Deleuze and Guattari, among others, we will try to argue that, when fictionalizing the double one, Budapeste inscribes and stages its fiction, as the place of alterity, or the language without reification. |