Do códex ao livro-voz: de como o conto se converte em canto na narrativa de Marcelino Freire - um estudo da performance de voz subalterna na plataforma dos audiolivros Contos Negreiros e Angu de Sangue

Abstract

This study proposes an approach on the presence of certain oral communication marks in the works Angu de Sangue (2000) and Contos Negreiros (2005) by Marcelino Freire, an author from Pernambuco. These marks, together, serve as indicators of a writing contaminated by oral logos, that is, a mode of literary composition more committed to sonority than to the narrative materiality (plot, space, environment, time and character). In this way, therefore, there was a commitment to the experience in detriment of the record, the word potentiated as dictum, verve, voice, and not as a spelling of the fact. Structured in this way, we are talking about an analysis of the vocal performance, so we are interested in the printed and audiobook platforms of these works. The objective is to investigate to what extent this performativity projects, not the representation, but the experience of subalternity in the contemporary peripheral urban space. Such an experience is activated by the action of an entity that speaks of itself per se, sequestering the narrative conduction, always on the pressure of the sonorous, giving the interlocutor access to a modus vivendi and, consequently, imploding the short story literary form, while it is much closer to oral structures (poetry, singing, rap, etc). This entity is what we call the voice-character, the center of our argumentation. The methodological course undertaken to identify and particularize the performative dimension of such entity (the voice as inscription, presence and confrontation) involves the investigation of the spaces where the concepts of writing, writing, inscription, orature, speech and voice are embedded. It is worth, therefore, the fields of force of the Postcolonial Critique, Critical Theory, and Semiotics. For the theoretical confrontation, the research brings together cutting-edge contemporary discussions on the different instances of exclusion/marginalization and their effects in the field of artistic representation (Spivak, 2010, Virno, 2007, Bhabha 1998, Gumbrecht, 1998; Gilroy, 2001; Perlman 1977). It also brings a thought front which, in thematizing the condition of the modern subject in the contemporary social game, ends up traveling through the shifting ground of the communicational phenomena: media supports, mediality, orality, voice, performance, inscription, identity and resistance. We do not necessarily focus on a school, generation, group or author, our reading has chosen to cover the production of authors in different lands, but also in different, dialogic ways (Chartier, 2001, 2002; Cohen, 2009, 1998; Dalcastagnè, 2015, 2007, 2005; Debray, 1995; Deleuze/Guattari, 9 2004, 1995, Hall, 2003, 2000; Martín-Barbero, 2001, 1995; Mcluhan, 1972; Merleau-Ponty, 1994; Nancy, 2005; Ong, 1998; Strawson, 2008; Zumthor, 2010, 2014 and others)