Luciano De Crescenzo e o narrador plural em Nessuno: da ficção ao ensaio
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Data
2022-03-03
Autores
Bellissimo, Giácomo Enzo Cinquarole
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Universidade Estadual Paulista (Unesp)
Resumo
A presente pesquisa debruçou-se sobre a manifestação da instância narrativa em Nessuno: l’Odissea raccontata ai lettori d’oggi, do escritor napolitano Luciano De Crescenzo (1997), que se compele, como diz o subtítulo da obra, a recontar A odisseia, epopeia de Homero, adaptando-a aos leitores de hoje. Diante da peculiar atividade desta instância narrativa, a qual sugere uma inseparabilidade entre escritor e narrador, figuração corroborada pelos relatos autobiográficos, autorreferência e interpelação do leitor feita pelo narrador, além também da forma que, ao mesmo tempo sugere uma obra ressignificada aos “leitores de hoje” e uma narrativa mediada pelo comentário como pode ocorrer nos gêneros ensaio e crônica, buscou-se verificar de que maneira a instância do narrador estaria atrelada à do escritor na obra, tendo portanto que considerar as características discursivas na narrativa com base nos estudos de Maingueneau (1996 e 2020), Ducrot (1987) e Genette (1976) para entender a manifestação desta instância e em que ponto ela influencia no gênero narrativa e enquadra a obra como Literatura ou como ensaio, por conta da construção imbricada de comentários e informações alheias ao texto-fonte que procuram conduzir o leitor pela obra homérica, estabelecendo um diálogo com a cultura grega por intermédio da Literatura. Assim, analisou-se a obra córpus com a finalidade de responder a quatro perguntas de pesquisa: Como se manifesta a instância narrativa em Nessuno? Qual é o gênero dessa obra decrescenziana? Há separação entre as figuras do escritor, do autor e do narrador na obra estudada? Podemos entender o narrador de Nessuno como um “narrador plural”?
The present work turns itself over the manifestation of the narrative instance in Nessuno: l’Odissea raccontata ai lettori d’oggi by the napolitan writer Luciano De Crescenzo (1997), which compels itself, as tells the subtitle, to retells The odyssey, Homero’s epic, adapting it for the today readers. Before the peculiar activity of that narrative instance, which suggest an inseparability of writer and narrator, figuration reforced by the autobiographical relates, self-references and interpellation of the reader by the narrator, besides the form that, at the same time suggests a resignified work for the “today readers” and a narrative mediated by commentary as can occur on essays and chronicles, efforts were made to verify the manner which that narrator instance would be linked at the writer’s instance in the work, musting therefore to considerate the discursive characteristics at the narrative using for that the studies of Maingueneau (1996 and 2020), Ducrot (1987) and Genette (1976) to understand the manifestation of that instance and which level it influences in the gender narrative and embraces the work as Literature or essay, considering the imbricate construction of commentary and information coming outside the font-text which search to carry on the reader through the homeric work, establishing a dialog with greek culture by intermedium of the Literature. That considered, the work was analyzed with the finality to answer four questions of research: How is manifested the narrative instance in Nessuno? What is the gender of that decresenzian work? Is there a separation between the figures of the writer, author and narrator in the studied work? Can we understand the narrator of Nessuno as a “plural narrator”?
The present work turns itself over the manifestation of the narrative instance in Nessuno: l’Odissea raccontata ai lettori d’oggi by the napolitan writer Luciano De Crescenzo (1997), which compels itself, as tells the subtitle, to retells The odyssey, Homero’s epic, adapting it for the today readers. Before the peculiar activity of that narrative instance, which suggest an inseparability of writer and narrator, figuration reforced by the autobiographical relates, self-references and interpellation of the reader by the narrator, besides the form that, at the same time suggests a resignified work for the “today readers” and a narrative mediated by commentary as can occur on essays and chronicles, efforts were made to verify the manner which that narrator instance would be linked at the writer’s instance in the work, musting therefore to considerate the discursive characteristics at the narrative using for that the studies of Maingueneau (1996 and 2020), Ducrot (1987) and Genette (1976) to understand the manifestation of that instance and which level it influences in the gender narrative and embraces the work as Literature or essay, considering the imbricate construction of commentary and information coming outside the font-text which search to carry on the reader through the homeric work, establishing a dialog with greek culture by intermedium of the Literature. That considered, the work was analyzed with the finality to answer four questions of research: How is manifested the narrative instance in Nessuno? What is the gender of that decresenzian work? Is there a separation between the figures of the writer, author and narrator in the studied work? Can we understand the narrator of Nessuno as a “plural narrator”?
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Palavras-chave
Luciano De Crescenzo, Literatura italiana, Literatura clássica, Literatura comparada, Ethos, Narrador, Ironia, Humorismo, Análise do discurso, Intertextualidade, Mitologia, Italian literature, Classical literature, Comparative literature