Elementos poéticos e surrealistas em L’Écume des jours (1947), de Boris Vian
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Data
2019-05-03
Autores
Donadio, Glenda Verônica [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Esta dissertação tem como objetivo o estudo da obra de Boris Vian, intitulada L’Écume des jours (1947), por meio da análise de seu caráter poético e do trabalho com a linguagem realizado pelo autor. Busca também demonstrar a herança surrealista presente na narrativa e visa apontar como esta ainda se filia ao surrealismo, mesmo tendo sido produzida anos após o auge do movimento. O embasamento teórico da pesquisa abrange uma contextualização teórica e histórica do período – pós-guerra, 1945 – no qual a obra foi escrita. Na sequência, são apresentados os principais elementos, características e ideais do movimento surrealista, segundo as obras, sobretudo, de Lima (1995) e Chénieux-Gendron (1992). Estes aspectos são apontados e analisados de acordo com trechos da obra, buscando verificar como esta se filia ao surrealismo. Por fim, são apresentados os conceitos que elucidam o gênero híbrido da narrativa poética, consoante às ideias de Tadié (1994), e outros textos referentes à poesia, os quais permitem o reconhecimento dos recursos poéticos empregados ao longo da narrativa. Estes apontamentos são demonstrados posteriormente na obra em questão, uma vez que o uso de figuras de linguagem, ritmo e musicalidade ao longo da narrativa é essencial para Vian.
This dissertation aims the study of the Boris Vian work entitled L’Écume des jours (1947) through the analysis of its poetic character and of the work with the language done by the author. It also seeks to demonstrate the surrealistic heritage present in the narrative and aims to point out how this one is still affiliated with surrealism, despite having been produced after the boom of the movement. The theoretical basis of the research spans a historical and theoretical contextualization of the period – post-war, 1945 – when the work was written. The main elements, characteristics and ideals of the surrealist movement, mainly according to the works of Lima (1995) and Chénieux-Gendron (1992) are presented in the sequence. These aspects are pointed out and analized accordingly with extracts of the work seeking to verify how this one affiliates itself with surrealism. Finally, the concepts which elucidate the hybrid genre of the poetic narrative, consonant with Tadié (1994) ideas, and other texts regarding poetry, which permit the recognition of the poetic resources employed along the narrative. These notes are demonstrated later in the work in question, once the use of figures of speech, rhythm and musicality throughout the narrative is essential for Vian.
This dissertation aims the study of the Boris Vian work entitled L’Écume des jours (1947) through the analysis of its poetic character and of the work with the language done by the author. It also seeks to demonstrate the surrealistic heritage present in the narrative and aims to point out how this one is still affiliated with surrealism, despite having been produced after the boom of the movement. The theoretical basis of the research spans a historical and theoretical contextualization of the period – post-war, 1945 – when the work was written. The main elements, characteristics and ideals of the surrealist movement, mainly according to the works of Lima (1995) and Chénieux-Gendron (1992) are presented in the sequence. These aspects are pointed out and analized accordingly with extracts of the work seeking to verify how this one affiliates itself with surrealism. Finally, the concepts which elucidate the hybrid genre of the poetic narrative, consonant with Tadié (1994) ideas, and other texts regarding poetry, which permit the recognition of the poetic resources employed along the narrative. These notes are demonstrated later in the work in question, once the use of figures of speech, rhythm and musicality throughout the narrative is essential for Vian.
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Palavras-chave
Boris Vian, Narrativa poética, Surrealismo, Poetic narrative, Surrealism