A personagem feminina em contos de Alberto Moravia: Il paradiso e Boh
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Data
2017-05-26
Autores
Muknicka, Sérgio Gabriel [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Este estudo tem por finalidade analisar a personagem feminina em contos dos livros Il paradiso (1970) e Boh (1976) do autor italiano Alberto Moravia (1907-1990), escritor romano que concebeu sua obra tanto em prosa (contos, novelas e romances) como em peças de teatro e em roteiros cinematográficos. Ademais, outro objetivo precípuo da pesquisa foi a tradução na íntegra de treze contos destas coletâneas, porquanto não há traduções para o português brasileiros deste corpus. Como embasamento teórico, utilizaram-se as questões convocadas por Gérard Genette em Discours du récit (2007), por Lilia Crocenzi em La donna nella narrativa de A. Moravia (1964) e por Antonio Candido em A personagem de ficção (1987). É imprescindível ressaltar que, em todos os contos, as personagens femininas são narradoras autodiegéticas (GENETTE, 1972). Estas obras foram escolhidas, pois seus contos trazem à tona questões fulcrais no que diz respeito à poética moraviana. Como exemplo, pode-se citar a lassitude do indivíduo frente à realidade vivida, o corpo como mercadoria e objeto de consumo, o fetichismo de objetos, a hipocrisia social, o sexo, a revolta e a angústia existencial. As personagens protagonistas dos contos escolhidos debatem-se até o último momento para tentar lidar com as situações intrincadas de suas vidas. Entretanto, ao fim e ao cabo, tudo é reduzido a uma visão de mundo apática e desencantada. Por meio da convencionalização (CANDIDO, 1987), Moravia conseguiu expor a psicologia nevrótica de suas protagonistas, retratando-as como figuras cínicas e distantes. A linguagem, simples e desprovida de ornamentos tanto linguísticos quanto estruturais, é reflexo disso. Acredita-se, todavia, que o tom de oralidade, às vezes bastante marcado nos contos, pode ser lido como a confissão elegíaca dessas personagens que desfrutam da posição privilegiada – embora não totalmente confiável – dum narrador autodiegético que, por meio da focalização interna fixa (GENETTE, 1972), pode ficcionalizar à vontade suas histórias por meio do discurso em primeira pessoa. Ressalta-se que o uso desse recurso faz com que toda a narração fique subordinada à visão do próprio narrador. Ao longo das narrativas, observou-se que o autor transferiu seu pensamento intelectual para a personagem feminina (MAURO apud ASOR ROSA, 2001) que, refletindo sobre si mesma, lucubra acerca das mazelas da existência humana. Diferentemente das personagens de obras de fôlego do autor, como Mariagrazia de Gli indifferenti (1929) ou Cecilia de La noia (1960), as personagens destes contos não mais aparecem para dar apoio à figura do intelecual masculino, mas fazem-se ouvir por meio de suas próprias narrações, expondo seus dramas de forma bastante teatralizada.
This study consists of an analysis of the female character in a few short-stories from the books Il paradiso (1970) and Boh (1976) by the Italian writer Alberto Moravia (1907-1990), who conceived his work both in prose (short-stories, novellas and novels) as in plays and film scripts. Furthermore, another primary objective of the research was the complete translation of thirteen short stories from these books, inasmuch as there are no Brazilian Portuguese translations of this corpus. As theoretical bases, it was used Gérard Genette’s Discours du récit (2007), Lilia Crocenzi’s La donna nella narrativa A. Moravia (1964) and Antonio Candido’s A personagem de ficção (1987). It is essential to emphasize that in all the short-stories the female characters are homo-diegetic narrators (Genette, 1972). These books were chosen because their stories shed light on some key themes regarding Moravia’s poetics. For instance, most of stories contain thematic cores as the lassitude of the individual towards reality, the body seen as a product and an object of consumption, fetishism, social hypocrisy, sex, anger and angst. The protagonists strugle until the last moment trying to deal with the intricate situations of their lives. Nonetheless, at the end of the day, everything is reduced to a vision of an apathetic and disenchanted world. Through convencionalização (CANDIDO, 1987), Moravia could expose the neurotic psychology of his protagonists, portraying them as cynical and distant women. The simple structured language, nearly deprived of ornaments, also reflects this distance. It is believed, notwithstanding, that the oral tone, sometimes rather prominant in some of the short-stories can be understood as the elegiac confessions of these characters who enjoy the privileged position of homo-diegetic narrators who, through an internally focalized perspective (Genette, 1972), can fictionalize at will their stories. It is noteworthy that the use of this narrative technique provides the reader only with the narrator’s own point of view. Besides, it was also observed that Moravia transferred his intellectual thought to the female characters (MAURO apud ASOR ROSA, 2001) who, thinking of themselves, ponder about their existences. Unlike other Moravian characters, such as Mariagrazia from Gli indifferenti (1929) or Cecilia from La noia (1960), these paper-women no longer seem to support the male intelectual figure. On the contrary, they make themselves heard through their own stories, exposing their dramas with a great amount of theatricality.
This study consists of an analysis of the female character in a few short-stories from the books Il paradiso (1970) and Boh (1976) by the Italian writer Alberto Moravia (1907-1990), who conceived his work both in prose (short-stories, novellas and novels) as in plays and film scripts. Furthermore, another primary objective of the research was the complete translation of thirteen short stories from these books, inasmuch as there are no Brazilian Portuguese translations of this corpus. As theoretical bases, it was used Gérard Genette’s Discours du récit (2007), Lilia Crocenzi’s La donna nella narrativa A. Moravia (1964) and Antonio Candido’s A personagem de ficção (1987). It is essential to emphasize that in all the short-stories the female characters are homo-diegetic narrators (Genette, 1972). These books were chosen because their stories shed light on some key themes regarding Moravia’s poetics. For instance, most of stories contain thematic cores as the lassitude of the individual towards reality, the body seen as a product and an object of consumption, fetishism, social hypocrisy, sex, anger and angst. The protagonists strugle until the last moment trying to deal with the intricate situations of their lives. Nonetheless, at the end of the day, everything is reduced to a vision of an apathetic and disenchanted world. Through convencionalização (CANDIDO, 1987), Moravia could expose the neurotic psychology of his protagonists, portraying them as cynical and distant women. The simple structured language, nearly deprived of ornaments, also reflects this distance. It is believed, notwithstanding, that the oral tone, sometimes rather prominant in some of the short-stories can be understood as the elegiac confessions of these characters who enjoy the privileged position of homo-diegetic narrators who, through an internally focalized perspective (Genette, 1972), can fictionalize at will their stories. It is noteworthy that the use of this narrative technique provides the reader only with the narrator’s own point of view. Besides, it was also observed that Moravia transferred his intellectual thought to the female characters (MAURO apud ASOR ROSA, 2001) who, thinking of themselves, ponder about their existences. Unlike other Moravian characters, such as Mariagrazia from Gli indifferenti (1929) or Cecilia from La noia (1960), these paper-women no longer seem to support the male intelectual figure. On the contrary, they make themselves heard through their own stories, exposing their dramas with a great amount of theatricality.
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Palavras-chave
Literatura italiana, Alberto Moravia, Narrativa, Conto, Personagem feminina, Italian literature, Narrative, Short-story, Female character