O texto como força: o efeito metafórico no posfácio "A leitura distraída", de Bernardo Carvalho

• Ano de defesa: 2014
• Autor(a) principal: Canalle Junior, Natal
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Fronteira Sul; Brasil; Campus Chapecó; Programa de Pós-Graduação em Estudos Linguísticos; UFFS
• Palavras-chave em Português: Análise do discurso literário; Crítica literária; Metáfora
• Link de acesso: https://rd.uffs.edu.br/handle/prefix/773

From the studies of Pêcheux (2009), we understand the metaphor as a socio-historical process that serves as the basis of presentation of objects to subjects. Therefore, our study starts from the metaphor The text as a force, laid down in the afterword titled A leitura distraída – written by Bernardo Carvalho – in the book titled Ninguém Nada Nunca, written by the Argentine writer Juan Jose Saer. We take this text as a discourse on reading and seek to understand from the theoretical and methodological perspective of Franco-Brazilian Discourse Analysis, anchored in the work of Michel Pêcheux and Eni Orlandi, mainly, the effects of meaning that the work of criticism produces. Our central question is: What subject (s) and meaning (s) is constituted in this formulation? And that question has some consequences: (i) What about the notion of text and reading on literary texts constitute this formulation? What is the material basis, the historicity of the meanings about reading in this formulation? The cutouts made and analyzed, we understood that in the formulations of the subject of discourse, the text acts on the reader in the reading process. We can assert that the conditions of production are fundamental to understand the imaginary formations in this discourse. Therefore, we conclude that the afterword place, among other characteristics, presents the factor of being a posteriori as a constitutive feature, and so, symbolically represents a literary critical thinking that has an effective reader in its imaginary, and configures itself, as a discursive space in which readers can establish a dialogue.