As aporias do processo criativo em A morte em Veneza, de Thomas Mann
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Data
2021-09-10
Autores
Topdjian, Priscila Bosso
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Universidade Estadual Paulista (Unesp)
Resumo
Esta dissertação constitui um estudo crítico-interpretativo das aporias do processo criativo presentes na novela A Morte em Veneza, de Thomas Mann, das quais destacamos as que emergem das relações entre o antigo e o moderno, entre a arte clássica e a romântica e entre princípios apolíneos e dionisíacos de criação artística. Esses tensionamentos são construídos de forma autorreflexiva e provocam na narrativa um desconcerto lógico, afetando a sua leitura linear. Dentre as principais obras teóricas e críticas que nos serviram de apoio para exegese e análise, ressaltamos: Poesia ingênua e sentimental, de Friedrich Schiller (1991), que reflete sobre os modos de criação artística antigo (ingênuo) e moderno (sentimental) existentes na Antiguidade Clássica e no fim do século XVIII, ambos problematizados na narrativa em discussão; como também as reflexões acerca do belo e do gênio artísticos presentes em Crítica da faculdade de julgar, de Immanuel Kant (2016); a obra O nascimento da tragédia, de Friedrich Nietzsche (1992), que situa o conceito de trágico como proveniente da tragédia ática, interpretada como sendo a conciliação dos princípios apolíneos e dionisíacos de criação artística, que atuam de modo conflitante no texto manniano. Além disso, a paixão homoerótica que Tadzio (adolescente polonês) desperta em Aschenbach (escritor de cinquenta anos) indica o acontecimento da beleza mítica no mundo e na escrita do escritor, rigidamente ordenados pela disciplina e pela razão. No entanto, o deus Eros (deus da paixão) também atua de modo demoníaco na vida do protagonista, influindo no seu destino. Como a novela em discussão é narrada de forma crítica e autorreferencial no engendramento artístico dessas aporias, a pesquisa desvelou a construção destas apontando, como fio condutor, o artifício da metalinguagem, procedimento visto a partir da obra Linguística e Comunicação, de Roman Jakobson (2007), e do ensaio “Literatura e Metalinguagem”, de Roland Barthes (2007). Não obstante, no campo metalinguístico bakhtiniano, os enunciados de um texto estabelecem uma relação dialógica; se entrecruzando e demarcando a voz de um autor criado para o texto, a voz do narrador e a voz do personagem. Tal problemática faz com que, em última instância, o modo reflexivo do narrador deixe entrever o modo ensaístico do autor, conferindo à narrativa ensaios acerca do ser e do escrever, da beleza e da arte; é quando se vale da apropriação de diálogos platônicos; questão analisada a partir da obra Estética da Criação Verbal, de Mikhail Bakhtin (2011).
This thesis constitutes a critical-interpretative study of aporiai of the creative process present in the novel Death in Venice, by Thomas Mann, from which we highlight the ones that emerge from the link between ancient and modern, Classical and Romantic art, and from the Apollonian and Dionysian principles of artistic creation. These tensions are constituted in a self-reflexive way and cause a logical rupture in the narrative, affecting its linear reading. Among the main theorical and critical oeuvres that sustain the exegesis and analysis, we highlight On Naïve and Sentimental Poetry, by Friedrich Schiller (1991), which reflects on the ancient ways of artistic creation (naïve) and of modern (sentimental) that exist in Classical Antiquity and in later XVIII century, both of them troubling questions in the discussed narrative; as well as the reflections on beauty and the artistic genius presented on Critique of Judgment, by Immanuel Kant, and The Birth of Tragedy, by Friedrich Nietzsche (1992), which places the tragic concept as arising from the Attic tragedy, interpreted as a conciliation of Apollonian and Dionysian principles of artistical creation, which act in a conflicting way in the Mann’s text. Besides, the homoerotic passion that Tadzio (Polish teenager) inflames in Aschenbach (fifty-year-old writer) indicates the occurrence of mythical beauty in the writer’s world and writing, under the strict orders of discipline and reason. However, Eros (god of passion) also acts in a demonic way in the life of the main character, affecting his destiny. As the novel under discussion is critically and self-referentially narrated in the artistic engendering of these aporiai, the research unveiled the construction of these, pointing out, as a conducting line, the metalanguage stratagem, a procedure seen from the work Linguistic and Communications Theory, by Roman Jakobson (2007), and the essay “Literature and Metalanguage”, by Roland Barthes (2007). Nevertheless, in the Bakhtinian metalinguistic field, the text utterances establish a dialogical connection; intersecting and marking out an author voice created for the text, the narrator’s voice, and the character’s voice. As a last resort, such puzzling questions make the narrator’s reflexive writing a sort of essayistic production about being and writing itself, beauty and art; that is when it uses the Platonic dialogues, which is a question analyzed in the work Aesthetics of Verbal Creation, by Mikhail Bakhtin (2011).
This thesis constitutes a critical-interpretative study of aporiai of the creative process present in the novel Death in Venice, by Thomas Mann, from which we highlight the ones that emerge from the link between ancient and modern, Classical and Romantic art, and from the Apollonian and Dionysian principles of artistic creation. These tensions are constituted in a self-reflexive way and cause a logical rupture in the narrative, affecting its linear reading. Among the main theorical and critical oeuvres that sustain the exegesis and analysis, we highlight On Naïve and Sentimental Poetry, by Friedrich Schiller (1991), which reflects on the ancient ways of artistic creation (naïve) and of modern (sentimental) that exist in Classical Antiquity and in later XVIII century, both of them troubling questions in the discussed narrative; as well as the reflections on beauty and the artistic genius presented on Critique of Judgment, by Immanuel Kant, and The Birth of Tragedy, by Friedrich Nietzsche (1992), which places the tragic concept as arising from the Attic tragedy, interpreted as a conciliation of Apollonian and Dionysian principles of artistical creation, which act in a conflicting way in the Mann’s text. Besides, the homoerotic passion that Tadzio (Polish teenager) inflames in Aschenbach (fifty-year-old writer) indicates the occurrence of mythical beauty in the writer’s world and writing, under the strict orders of discipline and reason. However, Eros (god of passion) also acts in a demonic way in the life of the main character, affecting his destiny. As the novel under discussion is critically and self-referentially narrated in the artistic engendering of these aporiai, the research unveiled the construction of these, pointing out, as a conducting line, the metalanguage stratagem, a procedure seen from the work Linguistic and Communications Theory, by Roman Jakobson (2007), and the essay “Literature and Metalanguage”, by Roland Barthes (2007). Nevertheless, in the Bakhtinian metalinguistic field, the text utterances establish a dialogical connection; intersecting and marking out an author voice created for the text, the narrator’s voice, and the character’s voice. As a last resort, such puzzling questions make the narrator’s reflexive writing a sort of essayistic production about being and writing itself, beauty and art; that is when it uses the Platonic dialogues, which is a question analyzed in the work Aesthetics of Verbal Creation, by Mikhail Bakhtin (2011).
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A morte em Veneza, Aporias, Metalinguagem, Modo de criação antigo, Modo de criação moderno, Ancient way of creation, Aporiai, Death in Venice, Metalanguage, Modern way of creation