Representações monstruosas em A paixão segundo G.H de Clarice Lispector

• Ano de defesa: 2012
• Autor(a) principal: Oliveira, Amael
• Orientador(a): Santos, Josalba Fabiana dos
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Sergipe
• Programa de Pós-Graduação: Pós-Graduação em Letras
• País: BR
• Palavras-chave em Português: Clarice Lispector; A paixão segundo G.H. (Romance); Literatura brasileira; Crítica e interpretação; Monstros na literatura
• Área do conhecimento CNPq: CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
• Link de acesso: https://ri.ufs.br/handle/riufs/5773

Monsters have always been present in the popular imaginary and in many artistic expressions, including literature, practically in very era of human history. As a cultural construct, monstruosity can be shown under many shapes, by means of a monstrification process of the Other in an alterity relation. In view of this aspect, this work analyzes the novel A Paixão Segundo G.H. by Clarice Lispector especially its monstruous representations both in content (theme) and in form (writing). The monstruosities are built in the novel, from the perspective proposed here, by the narrator´s point of view who, with a |microscope look| exaggerates the dimensions of objects and beings, metamorphosing them as monsters. Among these beings, the cockroach is converted by this strangeness effect in a real monster, gifted with an ancestrality that universalizes it. By means of an interdisciplinary approach, that links contribution arising from cultural studies, philosophy, psychoanalysis, history and Brazilian literature critique, this work is based on theoretical aspects relative to the notion of monstruosity basically developed by Luiz Nazário (1998), Julio Jeha (2007), Michel Foucault (2002), Jeffrey Jerome Cohen (2000) e Nöel Carrol (1999). It is argued that the writer´s novel builds an |Aesthetic of the Negative|, a term used by Yudith Rosenbaum (1999) to characterize the rebellion posture of the novelist in relation to civility precepts, in favor of a more instinctive, wild stance, that requires from the narrator the deconstruction of her own human condition. G.H.´s itinerary is, hence, a trajectory from the human to the inhuman, from culture to nature.