Escrituras expandidas, referencialidade e espetacularização na literatura latino-americana contemporânea (Mario Bellatin, Daniel Link, Ricardo Lísias E Jacques Fux)

• Ano de defesa: 2020
• Autor(a) principal: Souza, Anna Paula Aires de
• Orientador(a): Alves, Wanderlan da Silva
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Estadual da Paraíba
• Programa de Pós-Graduação: Programa de Pós-Graduação em Literatura e Interculturalidade - PPGLI
• Departamento: Centro de Educação - CEDUC
• País: Brasil
• Palavras-chave em Português: Escrituras expandidas; Relato contemporâneo; Espetáculo; Referencialidade; Narrativa latino americana
• Área do conhecimento CNPq: LETRAS::LITERATURA BRASILEIRA
• Link de acesso: http://tede.bc.uepb.edu.br/jspui/handle/tede/3668

In this master dissertation, we developed an analysis of four contemporary narratives marked by the indeterminacy of the frontiers between genres, styles and notions of belonging or not belonging, whose boundaries acquire such porous proportions, that they end up collaborating for the expansion of the notion of reporting, as well as others artistic objects. As it follows, they are: Divórcio, from the Brazilian Ricardo Lísias, Meshugá, from the Brazilian Jacques Fux, La ansiedad, from the Argentinian Daniel Link, and Shiki Nagaoka: una nariz de ficción, from the Mexican Mario Bellatin. Thus, our text is grounded on three chapters: in the first, the notion of expanding and widening the frontiers between genres is addressed concerning the resources of reference and self-reference within the corpus narratives. The research is based, mainly, in Rosalind Krauss’ (2008) studies about expansion, in the idea of post-Autonomia of Josefina Ludmer (2010), the concept of nonspecificity of Florencia Garramuño (2014), and Natalia Brizuela’s (2014) approach in the relations between literature and photography, but also Diana Klinger’s (2006; 2008) definitions of authorship and self-fiction; in the second chapter, in its turn, we deal with the expansions and problematizations of belonging in writing, by the problematization of the author category, we centred the research in the process of performance and theatricalization of the author’s figure in the four reports. For this reading, we tightly consider the concepts of reproduction and spectacle, as stated by Theodor Adorno (1977) and Guy Débord (2003), as well as certain contemporary reconfigurations of this discussion, such as the revitalization of the conceptual meanings of reproduction presented by Robert Hullot-Kentor (2008), in addition to the concept of spectacle linked to the problem of representation and the exchanges with the idea of reality, as developed by Reinaldo Laddaga (2007); finally, in the third chapter, making use of the analyzes developed in the preceding sections, we developed the hypothesis that the narratives investigated allow us to think about a process of narrative expansion as one of the expressions of both the contemporary report and contemporary culture, within the scope of writing. Therefore, we analyze the processes of mirroring that constitute the textualities of the corpus and, also, the resources and narrative procedures that, in these texts, go beyond the limits of what, in the scope of modern art, was treated as representation games or mise en abyme. In this particular chapter, Rosalind Krauss’ (1999) studies about expansion and about post-medium status in contemporary art are also fundamental. In summary, this is, therefore, a study of four Latin-american narratives of the last decades and their relations with procedures and writing resources that question their possibilities of belonging and not belonging to the scope of modern art, their notions and formal features, in this way, at the same time, the reports studied are a possible expression of the status of contemporary narrative in Latin America.