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Universidade Federal Do Rio Grande Do Sul Instituto De Letras Programa De Pós-Graduação Literaturas Estrangeiras Modernas Literaturas De Lingua Inglesa

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Universidade Federal Do Rio Grande Do Sul Instituto De Letras Programa De Pós-Graduação Literaturas Estrangeiras Modernas Literaturas De Lingua Inglesa UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO LITERATURAS ESTRANGEIRAS MODERNAS LITERATURAS DE LINGUA INGLESA ANA LÚCIA MONTANO BOESSIO AMONGST SHADOWS AND LABYRINTHS A VISUAL POETICS FOR SAMUEL BECKETT’S OHIO IMPROMPTU Tese de Doutorado em Literaturas de Língua Inglesa Para a obtenção do título de Doutor em Letras Ubiratan Paiva de Oliveira Orientador Porto Alegre 2010 2 To my mother, the “dear name” who taught me to get through the shadows and labyrinths of my life 3 ACKNOWLEDGEMENTS I am deeply thankful to: My advisor, Prof. Ubiratan Paiva de Oliveira, who first believed in this project, and whose competence and knowledge supported me until the end; My daughter, Isabela Montano Boessio, for her love and help as a graphic designer; To my teachers and friends who shared their knowledge, experience, and books with me. 4 “… to darkness, to nothingness, to earnestness, to home…” - Samuel Beckett (Malone Dies) 5 RESUMO O objeto de estudo desta tese é a composição pictórica de Ohio Impromptu, de Samuel Beckett. Sendo assim, apresenta uma poética visual como estratégia interdisciplinar de análise da obra, incluindo a sua versão em filme. A partir de sua contextualização histórico-social na pós-modernidade, tendo por base autores como Zygmunt Bauman e David Harvey, juntamente com a definição, delimitação e contextualização das referências artísticas presentes na peça e no filme, é analisado o modo como as escolhas pictóricas feitas pelo autor interferem no conceito de espaço e suas relações com o tempo, assim como o espaço do livro enquanto elemento de conexão entre espaço e tempo em relação ao espectador-leitor, Listener, Reader e autor. O espaço é analisado por dois ângulos: o pictórico, ou seja, de que modo o espaço é trabalhado e tratado na obra de arte contemporânea, especialmente no que se refere à ruptura do espaço do quadro e o derretimento das fronteiras da obra enquanto categoria; o literário, a partir do que Gaston Bachelard propõe como poética do espaço – uma topoanálise da obra enquanto espaço de síntese do imemorial com a memória, um estudo psicológico sistemático dos locais da nossa vida privada. Nesse teatro do passado, que é a nossa memória, às vezes acreditamos nos conhecer no tempo; no entanto, o que realmente conhecemos é apenas uma série de fixações nos espaços de estabilidade de seres que não querem seguir adiante no tempo, que no seu próprio passado, quando vão à procura do tempo perdido, querem suspender a passagem do mesmo. A poética do espaço lida com o espaço da nossa solidão e, ali, espaço é tudo, já que o tempo não anima a memória. As metáforas apresentadas por Gaston Bachelard podem ser facilmente relacionadas com o universo de Ohio Impromptu, não somente porque Listener e Reader estão colocados em uma sala, ao redor de uma mesa, mas principalmente porque o texto está imerso no espaço do devaneio que é, de acordo com o autor, a casa das memórias. Ohio Impromptu é uma casa com sótãos e porões, cantos e corredores cheios de memórias não reveladas, palavras não ditas, sentimentos e faces inesquecíveis – uma síntese perfeita do imemorial com a memória. Através de uma poética visual, somada a uma topoanálise, chegamos à presença velada do autor e sua própria história permeando o espaço da obra, e a um conceito de tempo como antítese do tempo pós- moderno; um tempo que persiste pela repetição, que resiste ao apagamento; o tempo do mito. Através destes procedimentos de análise, chegamos a uma noção de tempo em Beckett enquanto kairos. Palavras-chave: literatura inglesa – Samuel Beckett – arte e literatura. 6 ABSTRACT The object of study of this dissertation is the pictorial composition of Ohio Impromptu, by Samuel Beckett. Therefore, it presents a visual poetics as an interdisciplinary strategy of analysis of the work, including its film version. From its social- historical contextualization within postmodernity, based on authors such as Zygmunt Bauman and David Harvey, altogether with the definition, delimitation and contextualization of the artistic references present in the play and in the film, it is analyzed the way the pictorial choices made by the author interfere in the concept of space and its relations with time, as much as the space of the book as an element of connection between space and time in regard to the reader-spectator, Listener, Reader, and author. The space is analyzed from two perspectives: the pictorial one, that is, the way the space is constructed and treated in contemporary artwork, especially in regard to the rupture of the space of the painting and the melting of the frontiers of the work as category; the literary one, from what Gaston Bachelard proposes as a poetics of the space – a topoanalysis of the work as a space of synthesis of the immemorial with memory, a systematic psychological study of the locals of our private life. In this theater of the past, which is our memory, sometimes we believe to know ourselves in time; instead, what we really know is just a series of fixations in the spaces of stability of human beings who do not want to move on in time, who in their own past, when they go in search of the lost time, want to suspend the passage of time. Space retains the compressed time. The poetics of space deals with the space of our loneliness. Here, space is everything, for time does not animate memory. The metaphors presented by Gaston Bachelard can be easily related to the universe of Ohio Impromptu, not only because Listener and Reader are set in a room, around a table, but especially because the text is immersed in the space of reverie which is, according to the author, the house of memories. Ohio Impromptu is a house of attics and basements, corners and corridors full of unrevealed memories, unspoken words, unforgettable feelings and faces – a perfect synthesis of the immemorial with memory. Through a visual poetics, added to a topoanalysis, we reach the veiled presence of the author and his own story permeating the space of the work, and a concept of time as an antithesis of the postmodern time; a time that persists through repetition, a time that resists erasure; the time of myth. Through these procedures of analysis, we reach a concept of time in Beckett as kairos. Keywords: English literature – Samuel Beckett – art and literature. 7 SUMMARY INTRODUCTION……………………………………………………………………… 14 1 THE POSTMODERN CONDITION …………………………............................. 24 1.1 The postmodern treatment of space vs. time…..................................... 49 1.2 The postmodern space in art .................................................................. 71 2 OHIO IMPROMPTU, by Samuel Beckett………………………………………… 102 2.1 The “tragic” postmodern time in Ohio Impromptu……………………. 104 2.2 The liquid modernity in Ohio Impromptu………………………………. 127 2.3 The pictorial space in Ohio Impromptu…………………………………. 148 2.3.1 Minimalism and chiaroscuro – the shades in Ohio Impromptu…. 163 3 THE BOOK, READER, THE READER-SPECTATOR…………………………. 212 CONCLUSION................................................................................................................ 237 BIBLIOGRAPHY...........……………………………………………………………….. 254 ANNEX DOCUMENTS.............................................................................................. 263 8 LIST OF ILLUSTRATIONS 1. PERSIMMON – Robert Rauschenberg ……………………………………………….. 46 2. PIAZZA D’ITALIA – Charles Moore …....................................................................... 55 3. A MODEL HOUSE – Adolf Loos ................................................................................. 65 4. FARNSWORTH HOUSE - Mies Van der Rohe ............................................................ 65 5. LE JUGEMENT DERNIER – Wassily Kandinsky ....................................................... 65 6. IMPRESSION III (CONCERT) –Wassily Kandinsky ................................................... 65 7. CANVAS – Jasper Johns ................................................................................................ 73 8. FIZZLES/FOIRADES – Jasper Johns ........................................................................... 73 9. UNTITLED – Jasper Johns ............................................................................................ 73 10. LES USINES DE RIO TINTO À L’ESTAQUE – Georges Braque ................................ 75 11. GUITAR – Pablo Picasso .............................................................................................. 75 12. FOOL’S HOUSE – Jasper Johns …………………………………………………….... 76 13. NEXOS – Manuel da Costa ........................................................................................... 78 14. TILTED ARC – Richard Serra ………………………………………………………… 78 15. IKB 191 – Yves Klein ……………………………………………………………… 80 16. THE GATES – Christo and Jeanne-Claude ……………………………....................... 80 17. BICYCLE WHEEL – Marcel Duchamp …………………………………………… 83 18. THE SCREAM – Edvard Munch ……………………………………………………… 91 19. MEN READING – Francisco Goya …………………………………………………… 91 20. CLEOPATRA AND THE PEASANT – Eugene Delacroix ………………………….. 91 21. TAHITIAN WOMEN – Paul Gauguin ………………………………………………. 93 22. MADEMOISELLES D’AVIGNON – Pablo Picasso …………………………………… 93 23. N° 18 – Jackson Pollock ………………………………………………………………. 93 24. MAO N° 2 – Pop Art ………………………………………………………………….. 95 25. ISLE OF SWANS ……………………………………………………………………… 144 26. LEGIBLE CITY – Jeffrey Shaw ………………………………………………………. 161 27. GOOD LUCK STONE (or ALTAR OF AGATHE TYCHE) – Goethe ………………… 164 28. UNTITLED – Dan Flavin ...…………………………………………………………… 166 29.
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