Reflexos e refrações de uma verdade nua e crua: uma análise dialógica da construção do projeto de dizer de Adelaide Carraro em Eu e o Governador (1963)

• Ano de defesa: 2024
• Autor(a) principal: Souza, Matheus Silva de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal do Rio Grande do Norte; Brasil; UFRN; PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA LINGUAGEM
• Palavras-chave em Português: Adelaide Carraro; Projeto de dizer; Romance de traços autobiográficos; Arquitetônica; Relações dialógicas; CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA
• Link de acesso: https://repositorio.ufrn.br/handle/123456789/58581

Upon deciding to become a creator of narratives and signing over forty works during her lifetime, Adelaide Carraro, one of the cursed writers of the 20th century ー an epithet widely spread, especially in the context of the Brazilian civil-military dictatorship (1964-1985), to refer to those who produced art against the authoritarian regime ー, marked her literary path by disseminating what she believes to be the raw and naked truth about socio-historical problems in Brazil. Ambivalently achieving popular recognition for her titles and disdain from critics and journalists of her time, Carraro became the author of many novels with autobiographical feautures in which she assumes the axiological position of the heroine of the narratives she composed, something that distinguished her compositional style. As an example of such texts, Eu e o Governador (1963), Adelaide's inaugural work, unfolds from the perspective of a narrator-character and protagonist. The narrator discusses her intimate dilemmas as a poor and young former tuberculosis patient in the city of São Paulo, a space where she experiences traumatic events that make her question the social stigmas and governmental neglect directed toward this population. In this sense, this research aimed to analytically examine the construction of Adelaide Carraro's utterance project in the aforementioned aesthetic object in order to achieve a deep understanding of the verbal-ideological lines that compose the artist's discursive intention, regarding the choices of architectonic elements, including form, content, and material, and the definition of axiological positions employed in the elaboration of her utterance. To achieve this purpose, the investigative corpus is comprised of utterances present in the novelistic plot. Additionally, it correlates with utterances from newspapers and magazines, forming a set of texts related to the explicited theme. This data helps offer a fruitful interpretation of the researched phenomenon. Meanwhile, we anchor the guiding threads of this dissertation in the scientific framework of qualitative research of an interpretive nature. We align our theoretical-methodological scope with the assumptions of Applied Linguistics as an undisciplined, boundary-pushing, and critical science. In this research, we also align ourselves with the postulations of the Bakhtin Circle, composed of thinkers, such as Mikhail Bakhtin, Pavel Medvedev, and Valentin Voloshinov, who provide the epistemological and philosophical foundations around the dialogical approach to language. Therefore, we can infer that the architectonic style of Adelaide, that is, the way the author-creator organized her first book, is constituted by evaluative indices indicating the enunciator’s attitude towards experiences lived by her. These experiences are transposed and, thus, represented on a novelistic level, based on the intersection between reflections and refractions of the worlds of art and life. Furthermore, by revealing, in her text, ideologically constructed meanings in relation to herself and others in the discursive interaction, the enunciator dealt with different assessments around her image and her statement, which highlights the multi-directions and axiological reverberations of her production immersed in concrete reality.