O Museu Travesti e o Arquipélago de memórias antimonumentais na obra de Mario Bellatin

Detalhes bibliográficos
Ano de defesa: 2016
Autor(a) principal: Cristina Dulce Souza Costa
Orientador(a): Não Informado pela instituição
Banca de defesa: Não Informado pela instituição
Tipo de documento: Dissertação
Tipo de acesso: Acesso aberto
Idioma: por
Instituição de defesa: Universidade Federal de Minas Gerais
Brasil
Programa de Pós-Graduação em Letras
UFMG
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: http://hdl.handle.net/1843/32957
Resumo: Mario Bellatin’s textual body presents numerous ramifications of entries and exits through which reading can be accomplished. In face of his unsystematic and fragmentary writing, Aby Warburg’s Atlas Mnemosyne presents a methodology to deal with the puzzles created by Bellatin’s works. Whereas Warburg’s Atlas establishes a space for reflection, proposed as an installation system to think history nonlinearly through a private collection of images, Bellatin’s writing operates as a platform of images and meetings, where a net of affections is woven, presenting a series of real biographies and ghosts. Similarly to Warburg’s boards, Bellatin creates spaces full of emptiness and memory constellations that light up intermittently and contrary to the columns erected by official history. Thereby, antimonumental aspect in Bellatin’s works is highlighted as a possible point of convergence of disputing memories, which are often subterranean and silenced by the hegemonic power. Among numerous ways to reflect upon the politics of memory within Bellatin’s work, thanatopolitics (the system that regulates the politics of death) was elected as the central axis of this research.