As paredes do indizível: em torno de “fluxo”, de Hilda Hilst

• Ano de defesa: 2018
• Autor(a) principal: Santos, Dheyne de Souza
• Orientador(a): Paula, Marcelo Ferraz de
• Banca de defesa: Paula, Marcelo Ferraz de, Zanirato, Tatiana Franca Rodrigues, Souza, Jamesson Buarque de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Letras e Linguística (FL)
• Departamento: Faculdade de Letras - FL (RG)
• País: Brasil
• Palavras-chave em Português: Hilda Hilst; Fluxo-floema; Testemunho; Indizível
• Palavras-chave em Inglês: Hilda Hilst; Fluxo-floema; Testimony; Unspeakable
• Área do conhecimento CNPq: LETRAS::TEORIA LITERARIA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/8449

This work aims at analyzing the text “Fluxo”, from the book Fluxo-Floema (1970), by the Brazilian writer Hilda Hilst, considering the sociopolitical context in which the work was written and published in the country and the barbarities burden in the twentieth century and also having the testimony as a theoretical and methodological subside. For this reading, we firstly established a brief conceptualization about testimony. Then, we traced Hilda Hilst´s literary trajectory pointing at literary fortune and critical reception of her works and highlighting characteristics such as the rereading of the lyrical tradition in her poetry, her theater connected to the necessity of communication with the other and her production known as erotic/pornographic as a literary and political transgression. Afterwards, we propose an analysis of the five texts that compose the book Fluxo-Floema outstanding main points such as the determined necessity of saying, the violence and the clash between the writer and the editorial market. At last, we opted to a literary analysis more focused on the lyric narrative “Fluxo”, observing the fragmentation, the fusion of genres, the dialogical-dramatic character, the systemic oppression, the metalanguage, the paradox, the rhythm, the silence and the silencing among other testimonial marks. In this analysis, the unspeakable is investigated as from the key of trauma, considering the importance of the necessity of saying in its tension with the impossibility of expression, which is linked to the desire of communication with the other. As a conclusion, we identity a language that survived to the catastrophes, therefore a witness-language, which says, in its poetical images marks, the unspeakable.