Entre Verdugos e Sedutores: Modernidade e (Des) Mascaramento na Prosa de Hilda Hilst
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Data
2018-01-31
Autores
Zago, Carlos Eduardo dos Santos
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Universidade Estadual Paulista (Unesp)
Resumo
Partindo da constatação de que a crítica especializada sobre Hilda Hilst pouco fala a respeito das características históricas, sociais e políticas de sua obra, este trabalho procura desenvolver uma leitura interpretativa, mais marcadamente materialista, de parte de sua literatura, contando, para isso, com perspectivas ensaísticas sobre o Brasil e com a teoria crítica, sobretudo ligada ao pensamento de Walter Benjamin. O primeiro capítulo destina-se a aproximar e comentar os vários textos publicados sobre os diversos gêneros em que a autora escreveu. Após traçar as diferentes perspectivas críticas, segue, na segunda parte, a leitura interpretativa da peça teatral O verdugo (1969), cujo foco é posto em seu caráter alegórico, tendo em vista que é com o seu teatro que temas ligados ao nosso inconcluso processo de modernização começam a se configurar mais sistematicamente: a permanência de relações arcaicas no presente, a mistura das instâncias pública e privada, a relativização do sujeito e a força subjugadora do capital. O trabalho continua com o tracejo de um panorama da prosa ficcional de Hilda Hilst, estendido de 1970 à década de 1990, quando passa a publicar sua irônica obra pornográfica. Recursos de sua dramaturgia são incorporados em seus textos futuros, como a metalinguagem, a forma alegórica e dialógica, o rompimento das estreitas barreiras entre os gêneros e a crítica à nossa modernização desigual e processual. Sendo assim, o romance Cartas de um sedutor (1991) parece ponto convergente da linguagem e das artimanhas literárias da autora. Sua apropriação de recursos teatrais é analisada comparativamente com procedimentos de O verdugo, sobretudo no quarto capítulo, em que se busca entender o movimento dos disfarces, chave formal da peça de 1969 - postos potencialmente no jogo cênico e nas diluições das práxis e discursos dos personagens, possibilitadas pelas influências e subornos do capital – ao mascaramento da consciência organizadora do romance de 1991. O último capítulo também é destinado às Cartas de um sedutor, em que se analisa a posição do intelectual em meio às generalizações da mercadoria, a construção paródica, a aproximação de um dos enunciadores do romance com os narradores em primeira pessoa, autoenvenenados, da tradição da literatura brasileira, e o choque entre forma literária e o conteúdo pornográfico da indústria cultural. O trabalho, portanto, procura investigar, sobretudo, a forma alegórica, juntamente aos recursos teatrais, da prosa de Hilda Hilst, capaz de formalizar nossa modernidade de fachada, simulada.
According to the specialized critical studies on Hilda Hilst, it can be observed that there is little information about the historical, social and political features in her literature; therefore, this thesis intends to develop an interpretative reading, more materialistic, when based on essays about Brazil and mainly associated with Walter Benjamin’s thought. The first chapter aims to approach and comment on texts, around several genres, published by Hilda Hilst. After the presentation, there is an interpretative translation of the play “O Verdugo” (1969), which focus is about its allegorical character, associated with themes on the process of modernization, more systematically, about the permanence of archaic relations in the present, the mixture of public and private instances, the relativization of the subject and the subjugating force of capital. The analysis continues to be compared to a trace of a panorama of Hilda Hilst's fictional prose, extended from the 1970s to the 1990s, when the author started to publish her ironic pornographic literature. The resources of her dramaturgy are incorporated into her future texts, such as metalanguage, allegorical and dialogical form, a breaking of the strict barriers between genders and the criticism of our unequal and procedural modernization. Thus, the novel “Cartas de um sedutor” (1991) seems a convergent point of the author's language and literature sources. The appropriation of theatrical resources is analyzed comparatively with procedures in “O Verdugo”, especially in the fourth chapter, which intends to understand the movement of disguises, formal key of the play of 1969 - potentially placed in the scenic game and diluted of the characters praxis and speeches, making possible the influences and bribes of the capital to the masking of the organizing consciousness of the 1991 novel. The last chapter is also devoted to “Cartas de um sedutor” and this thesis analyzes the position of the intellectual in the midst of the generalizations of the commodity, the parody construction, the approximation of one of the enunciators of the novel in the first-person narrator, self-poisoned by the tradition of Brazilian literature, and the clash between literary form and the pornographic content of the cultural industry. This analysis intends to investigate, above all, an allegorical form, a set of practical resources contained in the Hilda Hilst´s prose, able to formalize our inalienable modernity
According to the specialized critical studies on Hilda Hilst, it can be observed that there is little information about the historical, social and political features in her literature; therefore, this thesis intends to develop an interpretative reading, more materialistic, when based on essays about Brazil and mainly associated with Walter Benjamin’s thought. The first chapter aims to approach and comment on texts, around several genres, published by Hilda Hilst. After the presentation, there is an interpretative translation of the play “O Verdugo” (1969), which focus is about its allegorical character, associated with themes on the process of modernization, more systematically, about the permanence of archaic relations in the present, the mixture of public and private instances, the relativization of the subject and the subjugating force of capital. The analysis continues to be compared to a trace of a panorama of Hilda Hilst's fictional prose, extended from the 1970s to the 1990s, when the author started to publish her ironic pornographic literature. The resources of her dramaturgy are incorporated into her future texts, such as metalanguage, allegorical and dialogical form, a breaking of the strict barriers between genders and the criticism of our unequal and procedural modernization. Thus, the novel “Cartas de um sedutor” (1991) seems a convergent point of the author's language and literature sources. The appropriation of theatrical resources is analyzed comparatively with procedures in “O Verdugo”, especially in the fourth chapter, which intends to understand the movement of disguises, formal key of the play of 1969 - potentially placed in the scenic game and diluted of the characters praxis and speeches, making possible the influences and bribes of the capital to the masking of the organizing consciousness of the 1991 novel. The last chapter is also devoted to “Cartas de um sedutor” and this thesis analyzes the position of the intellectual in the midst of the generalizations of the commodity, the parody construction, the approximation of one of the enunciators of the novel in the first-person narrator, self-poisoned by the tradition of Brazilian literature, and the clash between literary form and the pornographic content of the cultural industry. This analysis intends to investigate, above all, an allegorical form, a set of practical resources contained in the Hilda Hilst´s prose, able to formalize our inalienable modernity
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Hilst, Hilda, Literatura Brasileira, Teatro Brasileiro, Metalinguagem, Brazilian Literature, Brazilian Theater, Metalanguage