Seres performáticos na civilização do espetáculo: uma leitura de Rubem Fonseca, Sérgio Sant'Anna, Luiz Vilela e Marcelino Freire
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Data
2016-12-06
Autores
Bettazza, Vânia Lúcia [UNESP]
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Editor
Universidade Estadual Paulista (Unesp)
Resumo
Esta pesquisa aborda o aspecto performático de narradores e personagens concernentes à ficção do final do século XX e início deste século XXI. O cenário da era da imagem é o instigador desta investigação que pretende, por meio de teóricos como Debord, Baudrillard, Gabler e Llosa, apresentar uma leitura de alguns contos contemporâneos, especialmente de Rubem Fonseca, seguido de Sérgio Sant’Anna e Luiz Vilela e, para finalizar, de Marcelino Freire, cuja vida e obra se baralham na agitação cultural e na busca pela visibilidade midiática. À luz da civilização do espetáculo, deseja-se comprovar que muitos dos seres ficcionais percebidos nos contos desses autores como marginalizados, rejeitados e subjugados apreenderam as estratégias de sedução dos meios de comunicação de massa e as utilizam para metamorfosearem-se em seres capazes e decididos. Para tanto, a prioridade será observar mais as ações e dissimulações dos personagens e narradores frente à indústria do consumo que propriamente explorar o apelo sedutor dos meios de comunicação de massa com os quais mantêm uma estreita relação. Para o corpus foram selecionados os contos “Feliz ano novo” (1975), “O Cobrador” (1979) e “Hildete” (2002), de Rubem Fonseca, “Um discurso sobre o método” (1989) e “O embrulho da carne” (2003), de Sérgio Sant’Anna, “O suicida” (1970) e “A cabeça” (2002), de Luiz Vilela, e “A ponte, o horizonte” (2003) e “Socorrinho” (2005), de Marcelino Freire, porque agrupam aspectos da sociedade do espetáculo aos estratagemas dos personagens e narradores que, bem afeiçoados com as estratégias de simulação, brincam com os leitores e fazem deles espectadores do show que encenam no palco contemporâneo. Como resultado, evidenciou-se que esses seres são configurados como atentos observadores da civilização do espetáculo e não como vítimas de um sistema alienante arquitetado pela maioria dos meios de comunicação.
The present research introduces the performative aspect of narrators and characters concerning to fiction of the late twentieth century and beginning of the twenty-first century. The scenery of the image age is the instigator of this investigation that aims, through theoretical as Debord, Baudrillard, Gabler and Llosa, to present a reading of some contemporary tales, especially of Rubem Fonseca, followed by Sérgio Sant'Anna and Luiz Vilela and, finally, by Marcelino Freire, whose life and work are shuffled in the cultural upheaval and search for media visibility. Based on the spectacle civilization, it is wanted to prove that many of the fictional beings perceived in the stories of these authors as marginalized, rejected and subjugated, seized the seduction strategies of the mass media and use them to metamorphose themselves into beings capable and determined. Therefore, the priority will be to watch over the actions and dissimulations of the characters and narrators before the industry of consumption, in order to properly exploring the seductive appeal of the mass media with which they have a close relationship. For the corpus were selected the tales "Feliz ano novo" (1975), "O Cobrador" (1979) and "Hildete" (2002), by Rubem Fonseca, "Um discurso sobre o método" (1989) and "O embrulho da carne" (2003), by Sergio Sant'Anna, "O suicida" (1970) and "A cabeça" (2002), by Luiz Vilela, and "A ponte, o horizonte" (2003) and "Socorrinho" (2005), by Marcelino Freire, because they group aspects of the society of spectacle to the stratagems of the characters and narrators that, well fond with simulation strategies, play with the readers and make them spectators of the show they act in the contemporary stage. As a result, it became clear that these beings are configured as close observers of the spectacle civilization and not as victims of an alienating system architected by most media.
The present research introduces the performative aspect of narrators and characters concerning to fiction of the late twentieth century and beginning of the twenty-first century. The scenery of the image age is the instigator of this investigation that aims, through theoretical as Debord, Baudrillard, Gabler and Llosa, to present a reading of some contemporary tales, especially of Rubem Fonseca, followed by Sérgio Sant'Anna and Luiz Vilela and, finally, by Marcelino Freire, whose life and work are shuffled in the cultural upheaval and search for media visibility. Based on the spectacle civilization, it is wanted to prove that many of the fictional beings perceived in the stories of these authors as marginalized, rejected and subjugated, seized the seduction strategies of the mass media and use them to metamorphose themselves into beings capable and determined. Therefore, the priority will be to watch over the actions and dissimulations of the characters and narrators before the industry of consumption, in order to properly exploring the seductive appeal of the mass media with which they have a close relationship. For the corpus were selected the tales "Feliz ano novo" (1975), "O Cobrador" (1979) and "Hildete" (2002), by Rubem Fonseca, "Um discurso sobre o método" (1989) and "O embrulho da carne" (2003), by Sergio Sant'Anna, "O suicida" (1970) and "A cabeça" (2002), by Luiz Vilela, and "A ponte, o horizonte" (2003) and "Socorrinho" (2005), by Marcelino Freire, because they group aspects of the society of spectacle to the stratagems of the characters and narrators that, well fond with simulation strategies, play with the readers and make them spectators of the show they act in the contemporary stage. As a result, it became clear that these beings are configured as close observers of the spectacle civilization and not as victims of an alienating system architected by most media.
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Palavras-chave
Conto contemporâneo, Performance literária, Civilização do espetáculo, Contemporary tale, Literary performance, Spectacle civilization