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Variações Da Literatura UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE TEORIA LITERÁRIA E LITERATURA COMPARADA PROGRAMA DE PÓS-GRADUAÇÃO EM TEORIA LITERÁRIA E LITERATURA COMPARADA MARIANA RUGGIERI VARIAÇÕES DA LITERATURA VERSÃO CORRIGIDA São Paulo 2017 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE TEORIA LITERÁRIA E LITERATURA COMPARADA PROGRAMA DE PÓS-GRADUAÇÃO EM TEORIA LITERÁRIA E LITERATURA COMPARADA MARIANA RUGGIERI variações da literatura Tese apresentada ao Programa de Pós- Graduação do Departamento de Teoria Literária e Literatura Comparada da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para a obtenção do título de Doutora em Letras. Orientador: Prof. Dr. Marcos Piason Natali De acordo, Versão Corrigida São Paulo 2017 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo Ruggieri, Mariana RR931v Variações da Literatura / Mariana Ruggieri ; orientador Marcos Natali. - São Paulo, 2017. 210 f. Tese (Doutorado)- Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo. Departamento de Teoria Literária e Literatura Comparada. Área de concentração: Teoria Literária e Literatura Comparada. 1. Animais. 2. Drones. 3. EZLN. 4. Feminicídios. 5. Hipnose. I. Natali, Marcos, orient. II. Título. Folha de Aprovação Nome: RUGGIERI, Mariana Título: Variações da literatura Tese apresentada à Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo para obtenção do título de Doutora em Letras. Aprovada em: ______/______/_____ Banca Examinadora Prof(a). Dr(a). ___________________________________ Instituição: ____________ Julgamento: _____________________ Assinatura: ____________________________ Prof(a). Dr(a). ___________________________________ Instituição: ____________ Julgamento: _____________________ Assinatura: ____________________________ Prof(a). Dr(a). ___________________________________ Instituição: ____________ Julgamento: _____________________ Assinatura: ____________________________ Prof(a). Dr(a). ___________________________________ Instituição: ____________ Julgamento: _____________________ Assinatura: ____________________________ Prof(a). Dr(a). ___________________________________ Instituição: ____________ Julgamento: _____________________ Assinatura: ____________________________ ao vô Olavo, que deixou aos vivos flores vivas à vó Izabel, que tem cheiro de mar /agradecimentos\ para conversar sem rumo sobre patti smith: maria betânia amoroso para estender uma rede em algodoal: fabiana carneiro para ir no fliperama matar zumbis: tomaz amorim para considerar a possibilidade de ir pro japão: carmen e claudio ruggieri para acreditar na possibilidade de costurar papel: rodrigo lobo para qualquer coisa, a qualquer hora: william kenji bellete para gargalhar abraçada e sonhar samambaias: pilar guimarães para afundar na doçura de um texto: renato prelorentzou para ir ver senhores lendo com lupas: biblioteca mário de andrade, apesar do charles cosac para tomar um enquadro na praça da república: lucía naser para tabelar e mandar pro gol: paulinha saes para se descobrir tradutora: marcelo lotufo para acompanhar de longe, no frio: raquel parrine para cultivar jardins em sacadas: bruna de carvalho para tomar uma água de coco no futuro: sofia nestrovski para criar uma língua própria, professor pardal of my heart: enrico ruggieri para devir matilha: carolina correia dos santos para escrever poemas em casarões antigos: clarisse lyra para querer tener de profesor de literatura para siempre: marcos natali para deixar por último por não saber por onde, se pelos olhos ou pelas mãos, mas principalmente por acordarmos todos os dias em casa: débora lima * agradeço à Fundação de Amparo à Pesquisa do Estado de São Paulo (processo no 2013/23692- 5) pelo financiamento dessa pesquisa e também os funcionários do DTLLC por todo o apoio operacional nos últimos anos. RUGGIERI, M. Variações da literatura. 2017. Tese (Doutorado) - Faculdade de Filosofia, Letras e Ciências Humanas, Universidade de São Paulo, São Paulo. RESUMO Escrever uma tese sobre as variações da literatura é, em muitos sentidos, variar junto com ela, isto é, empreender um exercício de comparação entre a teoria literária e outras teorias. Neste espírito, o texto a seguir dedica-se à especulação em torno do funcionamento de algumas categorias da teoria literária – como autoria, referencialidade e iterabilidade – por meio da investigação de outros assuntos que em um primeiro momento não pareceriam pertencer à ordem do literário, como a hipnose, os drones, os feminicídios, entre outros. Com isso propõe-se tensionar os limites da literatura e da teoria literária, em especial aquela que se organiza ao redor das indagações sobre o sentido do sentido. Palavras-chave: Animais, Drones, EZLN, Feminicídios, Hipnose RUGGIERI, M. Variations on literature. 2017. Tese (Doutorado) - Faculdade de Filosofia, Letras e Ciências Humanas, Universidade de São Paulo, São Paulo. ABSTRACT To write a thesis on the variations of literature is, in many ways, to vary with it, that is, to carry out the task of comparing literary theory to other theories. In this spirit, the following pages present speculations on the inner workings of some literary categories – such as authorship, referentiality and iterability – by means of an investigation of other subject matter that at first glance appear to have nothing to do with literature, such as hypnosis, drones and feminicides, among others. With this I propose to prod the limits of literature and literary theory, particularly that which organizes itself around questions regarding the meaning of meaning. Key-words: Animals, Drones, EZLN, Feminicides, Hypnosis <variações da literatura> só pra variar (R. Seixas) mecê tá doente, mecê tá variando... (G. Rosa) \sumário/ introdução _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.1 1. tentativa: junho _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.3 sonhos, uma segunda introdução _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.20 2.1 hipnose _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.36 2.2 drones _ _ _ _ _ _ _ _ _ _ _ _ _ p.49 2.3 radiação _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.69 3. ezln _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.88 4. feminicídios _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.108 5. animais _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.130 post scriptum – para isso continuamos vivas _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.146 citações traduzidas _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.168 bibliografia _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ p.187 /introdução\ Lo que aún no tiene forma me protegerá. Os monstros, sussurra Derrida, não podem ser anunciados. Não é possível dizer veja aqui este meu monstro sem transformá-lo em um animal doméstico de nome duvidoso. Moby Dick seeks thee not. It is thou, thou, that madly seekest him!1 O rastro do monstro, isso sim podemos anunciar, algo monstruoso no seu rastro, o irreconhecível, uma espécie inespecífica. Davi Kopenawa diz dos animais vistos na floresta que, em comparação aos seus espíritos, são feios e não passam de comida para humanos. Quanta tristeza em caçar em um zoológico – querer criar um bom deus para movimentos geológicos, escapando do acidente, da falha – mas sem também recair aqui em um elogio ao fracasso, que nada mais é do que avizinhar-se à noção de êxito, acordar em uma casa estranha sem lembrar como lá chegou. Blanchot conta uma história segundo a qual o messias se encontra nas portas de Roma entre os pedintes e os leprosos. Ao contrário do que se poderia esperar, ele não se disfarça para prevenir a sua volta, no entanto é, precisamente, reconhecido, facilmente identificável na multidão. Alguém, obcecado com a possibilidade de dirigir uma pergunta ao messias, indaga: Quando você vai voltar? Não há nenhuma garantia em sua presença, o seu estar lá, portanto, pouco tem a ver com o seu retorno. Tanto no futuro quanto no passado (afinal, afirma-se que ele já veio uma vez) a sua vinda não corresponde a nenhum tipo de presença. Sem a incerteza da sua vinda, não há messias, o que equivale a dizer que o messias é aquele que não sabemos quando vem – um bonde (um ônibus lotado?) chamado desejo. Diante da sua presença, a pergunta o reinsere no tempo incerto; nenhuma outra pergunta é possível ao messias que não o queira como 1 As traduções correspondentes a todas as citações em inglês podem ser encontradas ao final do texto, a partir da página 168. A não ser que haja indicação, as traduções são minhas. 1 senhor do fim dos tempos. Para Benjamin, isso quer dizer: somente para a humanidade redimida o passado é citável, em cada um dos seus momentos. Cada momento vivido transforma-se numa citation à l’ordre du jour — e esse dia é justamente o do juízo final. Antes, vou com Deleuze; todo delírio é histórico-mundial.
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