Entrando na máquina: repetição e estratégias ficcionais na obra de Carlos Sussekind

• Ano de defesa: 2018
• Autor(a) principal: João Gonçalves Ferreira Christófaro Silva
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: romance; automodelagem; ficção do manuscrito; diário; desapropriação; repetição; Sussekind, Carlos, 1933- Que pensam vocês que ele fez; Sussekind, Carlos, 1933- Ombros altos; Repetição em literatura; Ficção brasileira Historia e critica; Literatura comparada; Literatura brasileira Séc XX; Sussekind, Carlos, 1933- Armadilha para Lamartine; Sussekind, Carlos, 1933- O autor mente muito; Mendonça, Carlos Sussekind de, 1899-1968 Diários
• Link de acesso: http://hdl.handle.net/1843/LETR-B45G63

This thesis intends to reflect on the use of repetition as an artifice in the fictional work of Carlos Sussekind. It proposes that two types of repetition are present in his works. The first one seeks fidelity to its model and is embodied by Espártaco and his diary, especially. The second, embodied by Lamartine and his pretenses, competes with the first one by taking it as a model and retroacting upon it. This gesture denies the principle by which these two types could be separated one from the other, as well as a series of other correlated oppositions, such as: true or false, diary and novel, the inside and the outside of a book, the self and the other, normality and madness, verisimilitude and the fantastic. Additionally, these two classes of repetition are thematized by two groups of machines: those that are responsible for registering and those that are able to put the registries in motion. This process results in two modes offashioning the self and the world that cannot be contrasted by their legitimacy. Both are equally unable to repeat a solid foundation, as well as to restrain the irruption of a reality that is refractory to its pretenses. In spite of their illegitimacy, the two modes of repetition remain asymmetric in terms of the force and violence of their action.