O Inferno em Patrícia Melo: tendências do realismo, intermidialidade, interculturalidade

Abstract

Thus, based on metacritical assessments of the concept of "real shock" coined by Beatriz Jaguaribe (2007) and reflections on realism (s) in contemporary literature, we analyze the novel O Inferno (2000) by Patricia Melo , pointing out the different tendencies of realism (SCHOLLHAMMER, 2012) that cross it, highlighting still singularities in cinematographic and literary works that with the novel of Patrícia Melo very dialogue. The work O Inferno, as it is perceived, draws a constant dialogue with the language of the media and is intercalated with the social, the cultural and the respective market anxieties, and, as we pointed out, aspects like these appear as stimulants that arouse our attentions criticism for treating mimetic rivalry (GIRAD, 2011) and the principle of cruelty (ROSSET, 2002) attempting to make appreciative bridges that somehow link ethics to aesthetics. Through the intermidiality point (RAJEWSKY, 2012), where we discuss the inter-mediatic references in O Inferno, we try to analyze how the concept coined by Roland Barthes, the effect of the real, has been consolidating as a theoretical current focused on contemporary realism, which proposes to paint a forceful portrait of society through the intensification and exacerbation of cruel scenes that would go unnoticed without the presence of the shock of the real (JAGUARIBE, 2007). Through this general outline, we also try to analyze how the theoretical key to the effect of the real has been consolidated as a structuring of realism, we believe that it must be taken from a dialogue not only intermiditic, but also intercultural, as Barthes himself suggested. deal with the above. Therefore, through the contributions of Nigerian anthropologist and researcher Harry Garuba, we can think of the aforementioned supportive effect of realistic aesthetics from "non-representative", intercultural and affective tendencies which would come to light if incorporated through a carnivalized real, that is, decentralized, suggesting a decoupling, but without rejection, of the fundamentals genuine from the accumulation of rational knowledge, through a political reading aimed at criticizing the status of colonial knowledge and a Westernized episteme that has been going through the framework of the so-called "Realist School" since the nineteenth century classics. Notably, the purpose of intercultural reading is to displace the fixed idea of what the effect of the real on realism would be from the dialogue with cultural criticism; to shift it from its position of centrality based on the Eurocentric colonialist aesthetics and its positive enlightenment, to think it according to a Deleuze fold. Starting from a reading where the philosopher came to discuss a series of subjectivation processes, we soon came to promote a comparative discussion about contemporary Brazilian realism - in its technological and rational aspect - and realism in other cultures, specifically Native American and African, remembered by its animist trait while anti-imperialist uprising. To this end, an uprising against the Western disciplinary knowledge, instigated to direct our reflection to think what is to be the effect of the real within the world-wide and polycentric circuit of literature, perceives it as a product of peculiar distinction within each culture in which he manifests himself, noting how an intercultural reading of realism also incorporates epistemic disobedience as a descolonial option (MIGNOLO, 2008).