Banca de QUALIFICAÇÃO: TARCYENE ELLEN SANTOS DA SILVA
Uma banca de QUALIFICAÇÃO de DOUTORADO foi cadastrada pelo programa.STUDENT : TARCYENE ELLEN SANTOS DA SILVA
DATE: 05/09/2022
TIME: 14:30
LOCAL: Pela plataforma google meet
TITLE:
Autoportrait de Paris avec Chat by Dany Laferrière: literature in images.
KEY WORDS:
Dany Laferrière, Haitian Québécois Literature, Roman Déssiné, Magic Realism.
PAGES: 90
BIG AREA: Linguística, Letras e Artes
AREA: Letras
SUMMARY:
The current paper aims at analysing the Roman Déssiné in the work Autoportrait de Paris avec Chat (2018) by Dany Laferrière, in view of the images present in the aforementioned narrative. This fictional production, published in 2018, is the first example of the new genre, created by the Immortel de L’Académie Française author. At first glance, the audience might confuse the book for a children’s sketchbook. However, the narrative is more than that. We find in it two main characters: a famous writer about to receive the immortality distinction for his books, and the Cat, with a burlesque profile in a Dandy style, who knows every cultural corner of the world’s most visited capital: Paris. Thus, we are immersed in a museum of images and words, in which a personal Paris emerges, populated by the most famous artists from different aesthetic fields and from different periods. Dany Laferrière’s Roman Déssiné reminds us of several avant-garde compositions, whether in image or in writing. Considering these characteristics of the work, we work with the hypothesis that the Roman Déssiné is a result of the dialogues between literature and image, which took place both during the 20th Century’s Modernity, and in the internal circuit of the set of Dany Laferrière’s works. We believe that the author preserves an aesthetic tradition and, at the same time, promotes ruptures with it, as he explores the levels of pictoriality (LOUVEL, 2016a; LOUVEL, 2016b) in his works. For us, Autoportrait de Paris avec Chat might be considered an aesthetic landmark n which we see the emergence, for the first time, of an imagery concretism in the novel. Our preliminary results confirm that, through parodistic drawings and caricatures, the Haitian-Québécois author illustrated the references that constantly appear in his other productions, presenting, this time with his own hand, the painters and the works that marked his route in some way.
COMMITTEE MEMBERS:
Externo à Instituição - FLÁVIA CRISTINA DE SOUZA NASCIMENTO FALLEIROS
Interno - 1675070 - JOSE LUIZ FERREIRA
Externa à Instituição - KARINA CHIANCA VENÂNCIO - UFPB
Externo à Instituição - MARCOS VINÍCIUS FERNANDES - IFRN
Presidente - 3351552 - ROSANNE BEZERRA DE ARAUJO