A poética do testemunho e seus paradoxos de representação na literatura latino-americana contemporânea

• Autor(a) principal: Silva, Valéria Gomes Ignácio da
• Data de Publicação: 2021
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://repositorio.pucsp.br/jspui/handle/handle/24666
• topic: CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA; Testemunho literário; Autoficção; Ditaduras na literatura; Poética do testemunho contemporâneo; Literary testimony; Auto fiction; Dictatorships in literature; Poetics of contemporary testimony

Contemporary literary testimony no longer uses the historical ledger as the main foundation for plot construction in order to transform it into an object of its own composition; attention is now given to the experiences of violence in Latin American history, thus opening a new key to subjectivity, one that challenges us with a singular paradox: autofiction as a category. The enunciative perspectives present to us an update of discursive strategies and forms in this century, specially characterized by a purposeful authorial dislocation ranging from historical references to the imagination. These literary inscriptions, that subvert and override the canon made of testimonial narratives, lead us to discuss not only the approximations and gaps in relation to previous works, but also the actual statute of representation and truth. As an investigative object, we established a sample of literary production supported by the civilmilitary dictatorship regimes in Brazil (1964-1981), Chile (1973-1990) and Argentina (1976- 1983). It has been noticed how each of the oeuvres from the corpus respond aesthetically to history, which authorial choices contributed to give meaning to experience and how they have an impact on testimony as a genre. In the books by Bernardo Kucinski, K. Relato de uma busca (2011) and Os Visitantes (2016); by Alejandro Zambra, Formas de voltar para casa (2014), and by Laura Alcoba, La Casa de los Conejos (2008), we identify both the paradoxes of testimonial writing – in their determination to communicate an experience despite limitations – and new discursive operation. Facing the uncertainties of recovery from a traumatic past, resorting to autofiction increases the symbolic value of experiences. The dislocation of the selfnarratives offers detail and historical fragments which are built on the first person and suggest a new readership engagement. The poetics of these registrations grant privilege to the subject’s representational crisis to articulate the interdiction and lapses of memory; to revendicate the truth of an aesthetic construction as an alternative for the realistic reproduction of uncontrollable violence, negated dissensus, and sufferings that continue to have an effect on the present. Resisting classification, contemporary testimony does not dissipate paradoxes inherent to the phenomenon, but it accentuates its singularity as hybrid writing and amplifies its literary power. In this context, this paper contributes to the discussion of the aforementioned works and the incremental presence of fictional and autofictional elements in testimonial narratives