Escrever tout le temps: memórias e tempos nos textos de guerra de Marguerite Duras

• Ano de defesa: 2023
• Autor(a) principal: Bosi, Isabela Magalhães
• Orientador(a): Malufe, Annita Costa
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Literatura e Crítica Literária
• Departamento: Faculdade de Filosofia, Comunicação, Letras e Artes
• País: Brasil
• Palavras-chave em Português: Hiroshima mon amour; La douleur; Aurélia Steiner; Multiplicidade; Rizoma
• Palavras-chave em Inglês: Hiroshima mon amour; La douleur; Aurélia Steiner; Multiplicity; Rhizome
• Área do conhecimento CNPq: CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA
• Link de acesso: https://repositorio.pucsp.br/jspui/handle/handle/40743

What and why write about war? How, in the face of disaster, can we extract its power from words? How can we invent other uses of language that escape violence – violence, in this case, that is expressed and perpetuated through words, which are in themselves an instrument of power? These are some questions that move this thesis, whose objective is to reflect with and about what we call here Marguerite Duras' war texts. To this end, we outlined, as a selection, in her vast work, five texts written about and/or during the Second World War, which she experienced in Paris, under the occupation of the German Nazi army. However, despite it being one specific war, these texts show that every war leads to another war and every war continues the previous one, in a thread of many tangled wars, still present here, now. Therefore, this study focuses on the works Hiroshima mon amour (1959), La douleur (1985) and the Aurélia Steiner trilogy (1979). In these texts, we notice ruptures with a chronology and a linearity of time, provoking and revealing a multiplicity of times, in which past, present and future coexist, overlap. Throughout this research, therefore, it became necessary to bring together theories that are in line with the view that there is not just one memory or just one time, as both are in a constant process of reconstruction and unfolding. Among the thinkers with whom we dialogue, from this perspective, we highlight Gilles Deleuze and Félix Guattari, whose work inspires us to escape the thought of representation and to think in and with a poetics of immanence, and no longer a representational poetics. Thus, both time and memory are seen here as operations, creative forces that Duras' writing, in this case, evokes and provokes, constructing impossibles, deviations. Thus, memory presents itself as movement and time as a rhizome, in the creation of other worlds, of becomings