I don\'t know why what was possible in music would be impossible in literature

Author(s)

Bruna de Carvalho

• Document type: Doctoral Thesis
• Press: São Paulo.
• Institution: Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD)
• Defense date: 2019-03-18

Examining board members

Claudia Consuelo Amigo Pino; Marco Aurelio Pinotti Catalão; Marcos Piason Natali; Viviane Araújo Alves da Costa Pereira

• Advisor: Veronica Galindez

Abstract

This research opens a reading path based on André Gide, focused majorly on two of his books: Les Faux-monnayeurs, his only novel, and Ainsi soit-il ou les jeux sont faits, a memoir and one of his last publications in life. The main issue which guides this reading path is, first of all, listening itself, in a way to entwine Jean Luc-Nancys À lécoute, Philippe Lacoue- Labarthes Lécho du sujet, and Jean Starobinskis La relation critique. This theoretical tissue supports a deeper investigation around these questions: what does it mean to listen to a text? What implications listening conveys to critics? What kind of borders and divisions is this gesture capable of undoing or reorganizing? Is it possible to guide oneself through listening according to writing assumptions inside an academic thesis? These questions triggers a series of both reading and writing experiments that dilutes clear separations between subject and object in my text, enabling myself, as a reader, to enter this thesis narrative and manifest experiences that work as its utterance conditions (for example, DJing). This path ultimately guides me into potential political implications of the so to speak experimental gesture within this thesis. (AU)

• FAPESP's process: 15/16729-5 - I don't see why what was possible in music would be impossible in literature
• Grantee: Bruna de Carvalho
• Support Opportunities: Scholarships in Brazil - Doctorate