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| Author(s): |
Maria Lúcia Stacchini Ferreira Homem
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2001-12-06 |
| Examining board members: |
Cleusa Rios Pinheiro Passos;
Marco Antonio Coutinho Jorge;
Leyla Beatriz Perrone Moises;
Yudith Rosenbaum;
Camila Pedral Sampaio
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| Advisor: | Cleusa Rios Pinheiro Passos |
| Abstract | |
The field of literature is the field of mimesis. So that it occurs, an object suitable for depiction, a subject that performs it and a language that makes it viable as well as a reader to receive it are imperative. The object to be re-created can be real or virtual and the means for its re-creation is the word. Words aimed at reaching beyond the threshold of real. Throughout the times several forms of representation were created varying, in different ways, the diverse narrative instances. This variation has been attached to the concept of subject and the language usage possibilities that gained momentum at certain periods of art and literature. Clarice Lispector fits in this stream of history and tradition. The conspicuous rational individual subject, the \"author\" that begins to be outlined in the transition to modernity had, generally speaking, a transparent language as a tool in order to reveal the landscape that unfolded before his eyes. These poles have become more complex through the centuries notwithstanding. The subject showed himself decentralized and fragmented, unknown to his own self. Who narrates? Words had become suspicious. Putting it in words is to annihilate the object? Would it be better to gag what cannot be said? The object showed its opacity and oddness. What would be fitting for depiction? These are the questions highlighted in this work that animate Clarices oeuvre, notably in her last novels: The stream of life [Água viva], The hour of the star [A hora da estrela] and A breath of life [Um sopro de vida]. The very format of contemporary novel goes parallel and feeds itself on these queries. The structurally classical novel that envisaged rendering the subjective universe of the individual hero that is born with modernity was shaken in its rock-steady foundations. A composing manner, which not only continuously intertwines character and narrator and author but also makes use of silence as a vanishing point for the narrative framework as a vortex that seems to drag the writings own movement, becomes more acute. The fictional pact alters itself, the silence and word play brings itself to light central points in the novels analyzed that will be focused through the literature/psychoanalysis interface. (AU) | |