Abstract
RESUMO Este artigo problematiza a narrativa da dor e do trauma em obras testemunhais e em trabalhos ficcionais, tomando como objetos de análise textos memorialísticos do escritor italiano Primo Levi, sobrevivente dos campos de concentração nazistas, e o romance Grande sertão: veredas, de Guimarães Rosa, em especial as lembranças descritas por seu protagonista, o personagem Riobaldo Tatarana. Para tanto, propomos uma abordagem multidisciplinar, com escopos teóricos da narrativa e dos conhecimentos sobre afeto e memória, tendo em perspectiva as figuras fantasmáticas que esses textos trazem. As correspondências e aproximações entre os discursos em análise revelam efetivos laços que os unem, desde que lidos sob horizontes que ampliem suas mensagens, redefinam seus contornos e apostem em encontros simbólicos que enriqueçam o olhar a respeito da produção dos autores investigados.
Highlights
By its own definition, narration is an art
This article discusses the narrative of pain and trauma in witness and fictional works, taking as object of analysis memorialistic texts of the Italian writer Primo Levi, a survivor of the Nazi concentration camps, and Guimarães Rosa’s novel Grande Sertão: Veredas [The Devil to Pay in the Backlands], especially the memories described by its protagonist Riobaldo Tatarana
Descriptors of objects, facts, memories, stories, scenes, images, reminiscences and ideas, they live by recording, remembering, telling and writing stories, generally unto the frail support of the screen or on paper. The itinerary of these writers, poets, cinematographers and adpeopel is very similar to what Milan Kundera (2003)1 called “complexity” in his essays on The Art of the Novel: the irrepressible auto-creative labor, which makes the exercise of writing necessary to the subjective construction of self and to the objective construction of the world
Summary
Narration is an art. As we know, the Latin word ars corresponds to the Greek word téchne, which shows that, in every narrative, there is an underlying set of techniques which allows the construction of the story. With none.” (JUARROZ, 2009, p.13).5 It is from the complexity present in this art of narrating experiences of pain, which we intend to approach the narrative issues (in this case, through speech and text) of the traumas experienced by the Italian Jewish writer Primo Levi (1919-1987) and by the. The testimonial narrative that Primo Levi left about Shoah and the concentration camps where mass murder was perpetrated is inserted in a registry which, narrated, becomes a historical element, without, distancing itself of its aesthetic nature, in a text which, besides clear, is moving in many aspects. A narrative act in which fictional creations, moved by trauma and by the compelling necessity to relate his experiences, serves as a narrative enterprise
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