Poeticidade e vida do espírito no Livro do desassossego, o romance possível de Bernardo Soares
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2020-03-06
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Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho tem como objetivo a leitura do Livro do desassossego, do semi-heterônimo de Fernando Pessoa, Bernardo Soares, como um exemplar do gênero romanesco, a partir principalmente da noção de indivíduo problemático, desenvolvida por Georg Lukács, em sua Teoria do Romance. Nessa obra, o teórico entende a forma do romance a partir da presença de um herói que emerge da realidade cotidiana burguesa e modernizada, mas não consegue realmente dela se sentir parte. Isso porque ele teve toda sua substancialidade dissipada em reflexão (LUKÁCS, 2000, p. 31), ou seja, a espontaneidade de sua relação com o mundo exterior foi fraturada pela mediação do pensamento, o que acabou por expandir a vida do espírito em detrimento da vida prática. A consequência disso na narrativa romanesca é que “a subjetividade e a mundividência do narrador [...] dominam o mundo narrado, que assim aparece intimamente ligado à instância da narração” (GOULART, 1946, p. 32), podendo fragmentar as marcações de tempo, o enredo e ocasionar o desprendimento das noções de causalidade. Desse modo, pretende-se compreender o caráter problemático de Bernardo Soares e a natureza romanesca do Livro do desassossego a partir da análise da poeticidade da linguagem de seus escritos; de sua declarada posição de escritor e da natureza fragmentária de seu Livro, na medida em que tais aspectos estão vinculados à cisão sofrida pelo herói com relação ao mundo moderno e à sua própria identidade.
This thesis aims to read the Livro do Desassossego [The Book of Disquiet], by Fernando Pessoas’s semi-heteronym Bernando Soares, as an example of the novel genre, based primarily on the concept of the problematic individual, as developed by Georg Lukács in his Theory of the Novel. In this work, the theorist understands the novel’s form as founded on the presence of a hero who emerges from the bourgeois, modernized, mundane reality, but who cannot feel really connected to and part of it. This is because he has had all of his substance dissipated through reflection (LUKÁCS, 2000, p. 31), that is, the spontaneity of his relation with the exterior world has been fractured by the action of thought, which ends up expanding the life of the mind to the detriment of practical life. In the novel’s narrative, the consequence of this is that “a subjetividade e a mundividência do narrador [...] dominam o mundo narrado, que assim aparece intimamente ligado à instância da narração” [the narrator’s subjectivity and worldview take over the narrated world, which then appears intimately linked to the narration’s standpoint] (GOULART, 1946, p. 32), being able to fragment the signals of time and plot, and cause detachment of the notions of causality. In this sense, our intention is to comprehend the problematic character of Bernardo Soares and the novel nature of the Livro do Desassossego based on the analysis of his fragmented language’s poetics; of his declared writer’s position; and of the fragmentary nature of his Book, insofar as these aspects are connected to the split suffered by the hero in relation to the modern world and to his own identity
This thesis aims to read the Livro do Desassossego [The Book of Disquiet], by Fernando Pessoas’s semi-heteronym Bernando Soares, as an example of the novel genre, based primarily on the concept of the problematic individual, as developed by Georg Lukács in his Theory of the Novel. In this work, the theorist understands the novel’s form as founded on the presence of a hero who emerges from the bourgeois, modernized, mundane reality, but who cannot feel really connected to and part of it. This is because he has had all of his substance dissipated through reflection (LUKÁCS, 2000, p. 31), that is, the spontaneity of his relation with the exterior world has been fractured by the action of thought, which ends up expanding the life of the mind to the detriment of practical life. In the novel’s narrative, the consequence of this is that “a subjetividade e a mundividência do narrador [...] dominam o mundo narrado, que assim aparece intimamente ligado à instância da narração” [the narrator’s subjectivity and worldview take over the narrated world, which then appears intimately linked to the narration’s standpoint] (GOULART, 1946, p. 32), being able to fragment the signals of time and plot, and cause detachment of the notions of causality. In this sense, our intention is to comprehend the problematic character of Bernardo Soares and the novel nature of the Livro do Desassossego based on the analysis of his fragmented language’s poetics; of his declared writer’s position; and of the fragmentary nature of his Book, insofar as these aspects are connected to the split suffered by the hero in relation to the modern world and to his own identity
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Romance moderno, Vida do espírito, Linguagem poética, Livro do desassossego, Bernardo Soares, Modern novel, Life of the mind, Poetic language, Book of disquiet