Chico Buarque e Alain Robbe-Grillet: possíveis diálogos entre a prosa contemporânea brasileira e o Nouveau Roman

Abstract

This research presents a analysis of the novels Estorvo (1991), Benjamin (1995) and Budapeste (2002), from brazilian writer and composer Chico Buarque de Hollanda, with the objective of verifying similarities and differences between these workd and the aesthetic proposed by Alain Robbe-Grillet in his book of essays Pour un noveau roman (For a new novel, 1969). In this sense, the research intends to analyse some categories that have been object of reflection by Robbe-Grillet, main exponent of the french movement, and perceived in the works of Chico Buarque. As a theorical basis, besides the already mentioned one by Robbe-Grillet, we will use, mainly, the works of Roland Barthes (2014), Marc Augé (1994), Leyla Perrone-Moisés (1966), Robert Stam (1981), among others. The research consists of four parts: in the first one, we’ll create a panorama of the Noveau Roman and of the contemporary brazilian prose for contextualization purposes. Then we will try to understand the representation of the individual the works of both authors. In the next chapter we will analyse the similarities between the two authors regarding the visual aspect of their narratives. Finnaly,the aproximations regarding the self-referential will be verified. From the results obtained, we understand that the work of Chico Buarque creates a redetermination of the elements already found in the workd of Robbe-Grillet, in a way to stabilish intertextual dialogues, updating them for a new contexto of production. This elements can be observed in the representation of the individual in a world where men lost all his certainties, differentiating itself from the bourgeois novel of the nineteenth century. Now, there is a individual adrift, incapable of constructing a linear and unified narrative like before. In other way, the narrative now receives a bigger visual determinant, a direct inffluence of the new means of communication. In the case of the french author, there is na influence of cinema and paintings, while in the case of the brazilian author there is na intensification of this semiotic exchanges, existing, beyond the dialogue with cinema, a exchange with new visual means of communication that impregnate contemporary society. In the end, it is possible to find in both authors na idea of literature that doesn’t have the pretention of firming the realist pact that dominated the bourgeois novel. The works start to exercise a anti- illusionist and anti-reflexive character, discussing their own nature, as well as their mecanisms of writing.