To die, to think, to write: covenants of the authorial self
Autor(a) principal: | |
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Data de Publicação: | 2019 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Abril (Niterói) |
Texto Completo: | https://periodicos.uff.br/revistaabril/article/view/29981 |
Resumo: | The poet thinks of the word and dies in it. The poet “dies of think” (Quignard) and dies of write. To thinking, to die, to write are simultaneous acts to the effect of the writing and any distance from death. Sometimes a strong experience of helplessness can illuminate the vertigo of this encounter that allows the author to act as “dead.” This is what happens to Blanchot in a short, hybrid text between fiction and self-writing - the moment of my death - that motivated Derrida to write a long essay. Dead from the moment he is uttered, the author double himself in the service of what comes to him: a new self and a new real that thought allows by writing. To yield to the unknowable is to disappear and let your body and ideas do their work in the staging of an “imaterial” death. Like the dream, the thought is produced from concepts / words that invent liames and senses between the scattered images, where we are / have always been lost. Around the above the article intends to reflect on the writing in connection with the death, from the thought of Blanchot and some predecessors (Hegel, Valéry), with the objective to approach not only the specificity of the literary, but still some common language, named as testimony , in order to find the undecidability. In place of limits, the concept of thresholds is suggested to investigate some covenants of the authorial self, in Herberto Helder, Gonçalo M. Tavares and in Blanchot himself. |
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To die, to think, to write: covenants of the authorial selfMorrer, pensar, escrever: pactos do eu autoralauthorwritingdeathfictiontestimony.autorescritamorteficçãotestemunho.The poet thinks of the word and dies in it. The poet “dies of think” (Quignard) and dies of write. To thinking, to die, to write are simultaneous acts to the effect of the writing and any distance from death. Sometimes a strong experience of helplessness can illuminate the vertigo of this encounter that allows the author to act as “dead.” This is what happens to Blanchot in a short, hybrid text between fiction and self-writing - the moment of my death - that motivated Derrida to write a long essay. Dead from the moment he is uttered, the author double himself in the service of what comes to him: a new self and a new real that thought allows by writing. To yield to the unknowable is to disappear and let your body and ideas do their work in the staging of an “imaterial” death. Like the dream, the thought is produced from concepts / words that invent liames and senses between the scattered images, where we are / have always been lost. Around the above the article intends to reflect on the writing in connection with the death, from the thought of Blanchot and some predecessors (Hegel, Valéry), with the objective to approach not only the specificity of the literary, but still some common language, named as testimony , in order to find the undecidability. In place of limits, the concept of thresholds is suggested to investigate some covenants of the authorial self, in Herberto Helder, Gonçalo M. Tavares and in Blanchot himself.O poeta pensa na palavra e nela morre. O poeta “morre de pensar” (Quignard) e morre de escrita. Pensar, morrer, escrever são atos em simultâneo ao efeito da escrita e a qualquer distância da morte. Por vezes uma forte experiência de desamparo pode iluminar a vertigem deste encontro que permite ao autor encenar-se como “morto”. É o que ocorre com Blanchot num texto curto e híbrido entre ficção e escrita de si – O instante da minha morte -, que motivou Derrida a escrever um longo ensaio. Morto desde que enunciado, o autor se dobra a serviço do que lhe advém: um novo eu e um novo real que o pensamento permite pela escrita. Ceder ao incognoscível é desaparecer e deixar que corpo e ideias façam o seu trabalho na encenação de uma “inconcreta” morte. Assim como o sonho, o pensamento se produz a partir de conceitos/palavras que inventam liames e sentidos entre as imagens dispersas, lugar onde somos/estamos desde sempre perdidos. Em torno do exposto, o artigo pretende refletir sobre a escrita em conexão com a morte, a partir do pensamento de Blanchot e alguns antecessores (Hegel, Valéry), com o objetivo de abordar, não só a especificidade do literário, mas ainda algum aspecto não-literário da linguagem, catalogado como testemunhal, de modo a encontrar a indecidibilidade. No lugar de limites, acena-se ao conceito de limiares para investigar alguns pactos do eu autoral, em Herberto Helder, Gonçalo M. Tavares e no próprio Blanchot.ABEC Brasil2019-06-23info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionPeer-reviewed ArticleArtigo avaliado por paresapplication/pdfhttps://periodicos.uff.br/revistaabril/article/view/2998110.22409/abriluff.v11i22.29981ABRIL – NEPA / UFF; Vol. 11 No. 22 (2019): Projections of self and self-writing; 39-50Abril – NEPA / UFF; v. 11 n. 22 (2019): Projeções do eu e a escrita de si; 39-501984-209010.22409/abriluff.v11i22reponame:Abril (Niterói)instname:Universidade Federal Fluminense (UFF)instacron:UFFporhttps://periodicos.uff.br/revistaabril/article/view/29981/17522Copyright (c) 2019 Abril – NEPA / UFFinfo:eu-repo/semantics/openAccessde Oliveira, Maria Lúcia Wiltshire2019-08-09T09:34:53Zoai:ojs.pkp.sfu.ca:article/29981Revistahttps://periodicos.uff.br/revistaabrilPUBhttps://periodicos.uff.br/revistaabril/oairevistaabril@vm.uff.br||nepa@vm.uff.br||uffnepa@gmail.com||idafalves@gmail.com1984-20901984-2090opendoar:2019-08-09T09:34:53Abril (Niterói) - Universidade Federal Fluminense (UFF)false |
dc.title.none.fl_str_mv |
To die, to think, to write: covenants of the authorial self Morrer, pensar, escrever: pactos do eu autoral |
title |
To die, to think, to write: covenants of the authorial self |
spellingShingle |
To die, to think, to write: covenants of the authorial self de Oliveira, Maria Lúcia Wiltshire author writing death fiction testimony. autor escrita morte ficção testemunho. |
title_short |
To die, to think, to write: covenants of the authorial self |
title_full |
To die, to think, to write: covenants of the authorial self |
title_fullStr |
To die, to think, to write: covenants of the authorial self |
title_full_unstemmed |
To die, to think, to write: covenants of the authorial self |
title_sort |
To die, to think, to write: covenants of the authorial self |
author |
de Oliveira, Maria Lúcia Wiltshire |
author_facet |
de Oliveira, Maria Lúcia Wiltshire |
author_role |
author |
dc.contributor.author.fl_str_mv |
de Oliveira, Maria Lúcia Wiltshire |
dc.subject.por.fl_str_mv |
author writing death fiction testimony. autor escrita morte ficção testemunho. |
topic |
author writing death fiction testimony. autor escrita morte ficção testemunho. |
description |
The poet thinks of the word and dies in it. The poet “dies of think” (Quignard) and dies of write. To thinking, to die, to write are simultaneous acts to the effect of the writing and any distance from death. Sometimes a strong experience of helplessness can illuminate the vertigo of this encounter that allows the author to act as “dead.” This is what happens to Blanchot in a short, hybrid text between fiction and self-writing - the moment of my death - that motivated Derrida to write a long essay. Dead from the moment he is uttered, the author double himself in the service of what comes to him: a new self and a new real that thought allows by writing. To yield to the unknowable is to disappear and let your body and ideas do their work in the staging of an “imaterial” death. Like the dream, the thought is produced from concepts / words that invent liames and senses between the scattered images, where we are / have always been lost. Around the above the article intends to reflect on the writing in connection with the death, from the thought of Blanchot and some predecessors (Hegel, Valéry), with the objective to approach not only the specificity of the literary, but still some common language, named as testimony , in order to find the undecidability. In place of limits, the concept of thresholds is suggested to investigate some covenants of the authorial self, in Herberto Helder, Gonçalo M. Tavares and in Blanchot himself. |
publishDate |
2019 |
dc.date.none.fl_str_mv |
2019-06-23 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article Artigo avaliado por pares |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.uff.br/revistaabril/article/view/29981 10.22409/abriluff.v11i22.29981 |
url |
https://periodicos.uff.br/revistaabril/article/view/29981 |
identifier_str_mv |
10.22409/abriluff.v11i22.29981 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.uff.br/revistaabril/article/view/29981/17522 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2019 Abril – NEPA / UFF info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2019 Abril – NEPA / UFF |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
ABEC Brasil |
publisher.none.fl_str_mv |
ABEC Brasil |
dc.source.none.fl_str_mv |
ABRIL – NEPA / UFF; Vol. 11 No. 22 (2019): Projections of self and self-writing; 39-50 Abril – NEPA / UFF; v. 11 n. 22 (2019): Projeções do eu e a escrita de si; 39-50 1984-2090 10.22409/abriluff.v11i22 reponame:Abril (Niterói) instname:Universidade Federal Fluminense (UFF) instacron:UFF |
instname_str |
Universidade Federal Fluminense (UFF) |
instacron_str |
UFF |
institution |
UFF |
reponame_str |
Abril (Niterói) |
collection |
Abril (Niterói) |
repository.name.fl_str_mv |
Abril (Niterói) - Universidade Federal Fluminense (UFF) |
repository.mail.fl_str_mv |
revistaabril@vm.uff.br||nepa@vm.uff.br||uffnepa@gmail.com||idafalves@gmail.com |
_version_ |
1799695309144588288 |