Luciferiano Criador: o complexo do demiurgo literário e a obra de arte como transgressão entre Inferno, de Dante, a poética de William Blake e A casa que Jack construiu, de Lars von Trier
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Data
2022-02-03
Autores
Pauka, Gabriela Sá
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Universidade Estadual Paulista (Unesp)
Resumo
A pesquisa propõe uma leitura do filme A casa que Jack Construiu (2018), de Lars von Trier, a partir do diálogo entre a Literatura e o Mal, mas mais especificamente de três de seus arquétipos: a demiurgia, a criação pelo mal e a viagem infernal. O filme, baseado na exposição de cinco dos assassinatos cometidos por um serial killer, delineia uma espécie de ensaio sobre a relação entre a arte e a perversidade ao mesmo tempo em que radica no solo árido da contemporaneidade ecos corrompidos das antigas ambições do grande gênio artístico. Assim, pretendeu-se investigar o modo como o filme opera a transcriação intermídia dos arquétipos literários, já que a distorção performada por Jack, protagonista, e Trier, cineasta, se imprime como atestado da angústia criativa da contemporaneidade. Os textos literários transcriados no filme são Inferno, segmento d’A Divina Comédia (1472) de Dante Alighieri e os poemas “Cordeiro” (“The Lamb”) e “O Tygre” (“The Tyger”), de Canções da Inocência e da Experiência (Songs of Innocence and of Experience, 1789) de William Blake. O filme de Trier, desse modo, apropria-se dos poemas e os distorce em um processo de bricolagem fílmica, produto próprio da criação pós-moderna. Os eixos metodológicos para a investigação são os Estudos Interartes, chancelados por Claus Clüver (1997, 2006, 2012); a perspectiva da criação como transcriação, desenvolvida por Haroldo de Campos (2015); as asserções de Linda Hutcheon (1947) sobre as noções de criação na pós-modernidade e, finalmente, as contribuições de Ingeborg Hoesterey (2001) sobre o pastiche cinematográfico. Convém ressaltar que as análises, mesmo interdisciplinares, estão vinculadas à tradição literária ocidental e à conceituação de pervivência para a Literatura desenvolvida por Haroldo de Campos (2015). Ou seja, na potencialidade de um original desdobrar-se por diversas temporalidades, ultrapassando as condições histórias de sua gestação. Sendo assim, buscou-se por momentos de “desfamiliarização”, por gestos anacrônicos, por visões de empréstimos e tudo mais que possa tornar claras as referências trierianas e as razões pelas quais o vínculo com o cânone literário é incontestável. Nesse sentido, a hipótese para o gesto mefistofélico se estabelece: desejou-se franquear a deformidade da leitura de Jack como possível alegoria do criador contemporâneo que, aterrado pelas referências canônicas, está mais propenso a depreender delas argumentos que corroborem com sua equivocada perspectiva histórica. Como produto final, a pesquisa instaura o sentido da possibilidade, de simbiose ilimitada que floresce e avoluma o espaço interartístico. Desejou-se, portanto, dialogar com a concepção de tradição literária como base sólida que autoriza as criações contemporâneas além de advogar pela instância disruptiva, de sentindo ilimitado, da pervivência literária.
This research provides a reading of the film The House that Jack Built (2018), by Lars von Trier, based on the dialogue between Literature and Evil, more specifically on three of its archetypes: the demiurge, creation by the annihilation from the evil and the journey through hell. The film, an exhibition of five of the murders committed by a serial killer, is a kind of essay on the relationship between art and evil. The protagonist’s thesis is rooted in the arid soil of contemporaneity, turning the story into echoes from the old ambitions of the artistic genius. Thus, this manuscript aims to investigate the way in which the film operates the literary archetypes intermediary transcreation, once the distortion performed by Jack, the protagonist, and Trier, the filmmaker, imprints itself as a testament to the contemporary creative anguish. The literary texts referenced by the film are Inferno, a segment of Dante Alighieri's The Divine Comedy (1472) and the poems “The Lamb” and “The Tyger”, from Songs of Innocence and Experience (1789) by William Blake. Hence, Trier's film appropriates the poems and distorts them in a process of filmic bricolage, a representative product of postmodern art. The methodological axes are Interart Studies, endorsed by Claus Clüver (1997, 2006, 2012); the perspective of creation as transcreation, developed by Haroldo de Campos (2015); Linda Hutcheon's (1947) assertions about the notions of creation in postmodernity and, finally, Ingeborg Hoesterey's (2001) contributions about cinematographic pastiche. It is worth noting that the analyses, even though interdisciplinary, is linked to the Western literary tradition and to the conceptualization of literary persistence developed by Haroldo de Campos (2015). In other words, the review has its main interest on the original text potential to unfold through different temporalities, surpassing the historical conditions of its creation. Thus, we looked for moments of “defamiliarization”, for anachronistic gestures and everything else that could clarify the Trierian references as well as the reasons for the undeniable link with the literary canon. Therefore, the hypothesis for the “mephistophelian gesture” is given by the aim to read Jack's deformity as a possible allegory for the contemporary creator who, terrified by canonical references, is more likely to infer from them arguments that corroborate his mistaken historical perspective. As a final product, the research establishes the sense of possibility, of unlimited symbiosis that flourishes and enlarges the interartistic space. Ergo the goal was to dialogue with the conception of literary tradition as a solid basis that authorizes contemporary creations, in addition to advocating for the disruptive instance, with an unlimited sense, of the literary persistence.
This research provides a reading of the film The House that Jack Built (2018), by Lars von Trier, based on the dialogue between Literature and Evil, more specifically on three of its archetypes: the demiurge, creation by the annihilation from the evil and the journey through hell. The film, an exhibition of five of the murders committed by a serial killer, is a kind of essay on the relationship between art and evil. The protagonist’s thesis is rooted in the arid soil of contemporaneity, turning the story into echoes from the old ambitions of the artistic genius. Thus, this manuscript aims to investigate the way in which the film operates the literary archetypes intermediary transcreation, once the distortion performed by Jack, the protagonist, and Trier, the filmmaker, imprints itself as a testament to the contemporary creative anguish. The literary texts referenced by the film are Inferno, a segment of Dante Alighieri's The Divine Comedy (1472) and the poems “The Lamb” and “The Tyger”, from Songs of Innocence and Experience (1789) by William Blake. Hence, Trier's film appropriates the poems and distorts them in a process of filmic bricolage, a representative product of postmodern art. The methodological axes are Interart Studies, endorsed by Claus Clüver (1997, 2006, 2012); the perspective of creation as transcreation, developed by Haroldo de Campos (2015); Linda Hutcheon's (1947) assertions about the notions of creation in postmodernity and, finally, Ingeborg Hoesterey's (2001) contributions about cinematographic pastiche. It is worth noting that the analyses, even though interdisciplinary, is linked to the Western literary tradition and to the conceptualization of literary persistence developed by Haroldo de Campos (2015). In other words, the review has its main interest on the original text potential to unfold through different temporalities, surpassing the historical conditions of its creation. Thus, we looked for moments of “defamiliarization”, for anachronistic gestures and everything else that could clarify the Trierian references as well as the reasons for the undeniable link with the literary canon. Therefore, the hypothesis for the “mephistophelian gesture” is given by the aim to read Jack's deformity as a possible allegory for the contemporary creator who, terrified by canonical references, is more likely to infer from them arguments that corroborate his mistaken historical perspective. As a final product, the research establishes the sense of possibility, of unlimited symbiosis that flourishes and enlarges the interartistic space. Ergo the goal was to dialogue with the conception of literary tradition as a solid basis that authorizes contemporary creations, in addition to advocating for the disruptive instance, with an unlimited sense, of the literary persistence.
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Palavras-chave
A casa que Jack construiu, Estudos Literários, Transcriação, Estudos Interartes, Demiurgia, Literatura e o Mal, Literatura comparada, Cinema e literatura