A pornografia como performance em O caderno rosa de Lori Lamby, de Hilda Hilst

Abstract

The present research consisted of analyzing the book "O caderno rosa de Lori Lamby" by the writer Hilda Hilst, from the perspective of performance. This book, the first in the author's so-called Obscene Trilogy, has sparked debates over the years since its publication in 1990, as it features an eight-year-old girl as the narrator who recounts her sexual experiences in her pink notebook under the supervision and consent of her parents. However, the ending of the narrative surprises the reader. Thus, through this study, we aim to understand pornography as a performance by the author to reach both the reading public and major publishers, who, according to her, always turned their backs on her. In this context, we understand performance as an open concept, which allows the literary text to guide the paths that should be followed for its comprehension. This theoretical approach, therefore, dialogues with "O caderno rosa de Lori Lamby," considering Hilda Hilst's dual role: in the media discourse and in the discourses of the characters Lori Lamby and her writer father. To achieve this objective, a bibliographic research was developed, and the book was analyzed using a qualitative method. Initially, the critical reception of the text was reviewed, followed by a reading of the work in light of the concept of performance, understanding the author's interventions as performative and potentially influential in shaping interpretations. Finally, the text was analyzed through the intersection of performance and pornography, recognizing the bodies of Corina and Lori Lamby as mediators of this intersection. In this study, we perceive the pornographic discourse in "O caderno rosa" as a critique of pornography itself through the construction of the characters. To support our discussions on performance studies, we drew on the theoretical contributions of Zumthor (2007), Leal (2012), Beigui (2011), and Colmenero (2016). Regarding pornography studies, we used the theoretical contributions of Preciado (2018), Ceccarelli (2011), Maingueneau (2010), among others.