A prosa experimental de Lourenço Mutarelli

• Ano de defesa: 2024
• Autor(a) principal: Silva, Damásio Marques da
• Orientador(a): Junqueira, Maria Aparecida
• 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 Pós-Graduação em Literatura e Crítica Literária
• Departamento: Faculdade de Filosofia, Comunicação, Letras e Artes
• País: Brasil
• Palavras-chave em Português: Lourenço Mutarelli; Prosa ficcional; Quadrinhos; Cinema; Teatro; Underground
• Palavras-chave em Inglês: Lourenço Mutarelli; Ficcional prose; Comics; Cinema; Theater; Underground
• Área do conhecimento CNPq: CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA
• Link de acesso: https://repositorio.pucsp.br/jspui/handle/handle/43656

With a long career dedicated to graphic novels, the artist Lourenço Mutarelli begins to focus almost exclusively on literature following the publication of O Cheiro do Ralo in 2002. His works mainly originate from the underground, focusing on the art of the subworld and marginalization. The literary prose works of Mutarelli produced to date constitute the corpus of this research. It raises the question of to what extent the Brazilian underground and counterculture thematize and shape Mutarelli's prose, and how the interweaving with other artistic languages implies experimentalism in this prose. The general objective is to investigate Mutarelli's narrative prose linked to other languages, and specifically, to grasp processes of hybridization and contamination in his works, derived from comics, dramaturgy, and screenwriting. It is hypothesized that Mutarelli's prose operates as an experimental narrative, difficult to classify, relying on a genre of passage or contingency, mediated by image, implying unusual ways of crafting prose. The theories of Bakhtin and Lukács discuss the form of the novel in comparison to the contemporary critique of Garramuño, Perrone-Moisés, and Süssekind, primarily. The critical studies of Eisner and McCloud on the language of comics; of Rosenfeld regarding the structure of the dramatic genre; of Esslin concerning the Theatre of the Absurd; as well as Deleuze's thoughts on the syntax of cinema, along with Eisenstein and his theory of montage, support the reflection on the relationships between Mutarelli's prose and other arts. The works are analyzed in comparison to other artistic productions by the author and other contemporary artists. It can be affirmed that Mutarelli's production traverses a liminal space, between graphic novels, theater, cinema, comics, and writing, without being fixed in any of them. The image is what crosses other arts with Mutarelli's prose in fiction that affirms the enigmatic belief in creation and the negation of appearance and representation