Para uma crítica do realismo traumático
DOI:
https://doi.org/10.12957/soletras.2012.3801Abstract
Resumo: A evocação de um “Retorno do Real”, feita por Hal Foster, em 1994, indicou a retomada do interesse pelas formas de realismo extremo nas artes visuais contemporâneas. Rapidamente, a abordagem se expandiu para a análise da literatura ressaltando, por um lado,temas e estilos de ruptura representativa e efeitos estéticos de choque e, por outro, linguagens híbridas entre documentarismo e encenação ficcional. Sem ignorar a continuidade e a transformação das formas históricas do realismo, o ensaio enfoca os efeitos de presença e doagenciamento performático em apostas contemporâneas da ficção brasileira tais como Cecilia Giannetti, Michel Laub e João Anzanello Carrascoza, entre outros. A partir de tais exemplos o ensaio discute os limites e os exageros patéticos do realismo traumático.Palavras-chave: Ficção brasileira. Prosa contemporânea. Realismo traumático.
Abstract: The concept of the “Return of the Real” baptized by Hal Foster in 1994 expressed a renewed interest for the forms of extreme realism in contemporary visual arts. Very fast the approach were taken over by literary theory and pointed on themes and styles of representative rupture and on aesthetic effects of shock on one side and on hybrid forms of documentarism and fictional staging on the other. Without ignoring the continuity and the transformation of the historic forms of realism this essay focuses on the aesthetic effects of presence and of performatic agency in contemporary experiments of Brazilian fiction as in Cecilia Gianetti, Michel Laub and João Anzanelle Carrascoza between others. From these examples the essay discusses the limits and the pathetic exaggeration of a traumatic realism.
Key words: Brazilian fiction. Contemporary prose. Traumatic realism.
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