Apagar vestígios: ausência, forma e autoria na Série Napolitana, de Elena Ferrante

• Autor(a) principal: Oliveira, Pamella Terezinha Souza de
• Data de Publicação: 2021
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/11745
• topic: Elena Ferrante; Autoria; Escrita de mulheres; Frantumaglia; Desmarginação; Elena Ferrante; Authorship; Women's writing; Frantumaglia; Dissolving margins; LINGUISTICA, LETRAS E ARTES::LETRAS

The present research was developed under the concept of form. Its goal is to analyze how, in the four volumes of her series the Neapolitan Novels (My Brilliant Friend, The Story of a New Name, Those Who Leave and Those Who Stay, and The Story of the Lost Child), the author Elena Ferrante will define form through three elements: authorship, narrative and theory. The main character in the series, Lenu, persistently tries to uncover a solid form for herself in opposition to the volunteer disappearing of Lila, the friend narrated in the stories, who gradually fades away until she is completely gone. In the series, their relationship highlights form while showing the deep need they have of each other. In addition to the series, this research relies on the volume Frantumaglia, a vast array of interpretative directions given by the author herself, a strategy that can be read as another layer of questioning of the authorial instance while also benefitting from it. By using the post-structuralist notions of authorship (BARTHES, 2004a; FOUCAULT, 2011), the modern author gesture (AGAMBEN, 2007) and the author’s place as discursive producer (GUMBRECHT, 1998), we aim to discern where the Italian author stands in relation to her work and its interpretation. Another focus of this investigation is the female experience of abandoning a submissive, muse-like place to build herself in literature (PERROT, 2007) as a woman who is both writing and widening the relationship between other women (CAVARERO, 2000), specially through the ability of narrating stories (PINTO, 2020; TOLENTINO, 2020). Lastly, we aim to grasp how the author managed to create fit these questions inside her own critical theory, since her fictional work offers us concepts which allow us to recognize a dialogue between the absence of the author and the absence of the character who disappears. These concepts developed by Ferrante are connected to the female condition itself and work in her process of writing as the thread uniting the shattered pieces of these women.