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Ana Raquel Lourenço Fernandes (Literatura Comparada) 2008

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Ana Raquel Lourenço Fernandes (Literatura Comparada) 2008 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS CENTRO DE ESTUDOS COMPARATISTAS WHAT ABOUT THE ROGUE ? SURVIVAL AND METAMORPHOSIS IN CONTEMPORARY BRITISH LITERATURE Ana Raquel Lourenço Fernandes DOUTORAMENTO EM ESTUDOS LITERÁRIOS (Literatura Comparada) 2008 UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS CENTRO DE ESTUDOS COMPARATISTAS WHAT ABOUT THE ROGUE ? SURVIVAL AND METAMORPHOSIS IN CONTEMPORARY BRITISH LITERATURE Ana Raquel Lourenço Fernandes Orientação: Professora Doutora Isabel Maria da Cunha Rosa Fernandes DOUTORAMENTO EM ESTUDOS LITERÁRIOS (Literatura Comparada) 2008 Abstract What about the Rogue? Survival and Metamorphosis in Contemporary British Literature The present dissertation aims at giving an account of the significance of the rogue in contemporary British literature, focusing on this character’s survival and metamorphosis particularly from the second half of the 20th century onwards. The thesis is divided into five sections, comprising three main chapters. The opening section is a general introduction showing the main steps in my approach to the subject under discussion and the attending methodology. In the first chapter I deal with the origins of the literature of roguery and the development of the rogue. Starting with the analysis of six previously selected novels, the second chapter studies the revival of the rogue mainly in the 1950s, adopting a comparative perspective. For this purpose I analyse and contextualise the following works: Joyce Cary’s The Horse’s Mouth (1944) and Iris Murdoch’s Under the Net (1954); John Wain’s Hurry on Down (1953), Kingsley Amis’s Lucky Jim (1954), John Braine’s Room at the Top (1957) and Allan Sillitoe’s Saturday Night and Sunday Morning (1958). This section closes with an analysis of the transformations undergone by Bill Naughton’s radio play, Alfie Elkins and His Little Life (1962), making manifest the multiple possibilities inherent in a character such as the rogue. My third chapter deals with fiction produced in Britain in the last decades of the second millennium and the beginning of a new one, focusing on Martin Amis’ and Irvine Welsh’s literary works. In their novels, especially Amis’s Money: A Suicide Note (1984), London Fields (1989) and Yellow Dog (2003), and Welsh’s trilogy i Trainspotting (1993), Glue (2001) and Porno (2002), the rogue is an effective vehicle for both the depiction and the questioning of the society we live in. The conclusion brings together the main ideas developed in the thesis, concentrating on the characteristics of the rogue and the literature of roguery in the present. The dissertation closes with a section containing attachments and bibliography. Keywords: Rogue, Anti-Hero, Literature of Roguery, Rogue Novel, British Literature, Film Adaptation, Contemporary British Fiction. ii Resumo Alargado O “Rogue” – Sobrevivência e Metamorfose na Literatura Britânica Contemporânea A presente dissertação propõe-se oferecer um estudo da personagem “rogue”, reflectindo sobre a sua sobrevivência e metamorfose na literatura britânica contemporânea. A estrutura da tese reflecte as etapas que orientaram a pesquisa, compreendendo três capítulos principais. A introdução contextualiza o estudo realizado, problematiza a personagem do “rogue”, sobretudo na contemporaneidade, e define os objectivos e a metodologia adoptada no trabalho. Segue-se um capítulo teórico (“The Rogue and the Literature of Roguery: A Case of Fortune in the Development of the Novel”), reflectindo sobre as origens desta personagem e sobre as características que a associam ao romance picaresco e à “literature of roguery”, de acordo com a designação proposta por Frank W. Chandler (1901). Na sua génese, o “rogue” partilha características com figuras medievais tais como o tolo e o bobo, o pícaro da literatura do Século de Ouro espanhol e, alguns séculos mais tarde, o “confidence man” (ou “con man”), personagem emblemática da literatura norte-americana do século XIX e seguintes. Etimologicamente a palavra refere-se a alguém pertencente a uma classe de vagabundos, normalmente descrito como um marginal, desonesto e sem princípios. No entanto, o termo em inglês é também empregue para designar plantas daninhas ou animais com comportamentos selvagens ou violentos. Jacques Derrida, em Rogues: Two Essays on Reason (2005), recupera as diferentes definições deste termo, enfatizando as suas possibilidades de uso na contemporaneidade e sublinhando a sua utilização no âmbito da política mundial para descrever regimes não alinhados (“rogue iii states”). Com efeito, a personagem literária do “rogue” revela-se como um excelente meio de reflexão social, política e filosófica, encontrando-se intimamente associada a um projecto de ficção desenvolvido pelos autores que, nos seus romances, elegem esta personagem como protagonista. O segundo capítulo (“The Turning Point: The Rogue in the Second Half of the 20th Century”) adopta uma perspectiva comparatista e pretende dar conta do modo como autores britânicos recuperam o “rogue” no pós-guerra. Deste modo, analisam-se os seguintes romances: Joyce Cary, The Horse’s Mouth (1944) e Iris Murdoch’s Under the Net (1954); John Wain, Hurry on Down (1953), Kingsley Amis, Lucky Jim (1954), John Braine, Room at the Top (1957) e Alan Sillitoe, Saturday Night and Sunday Morning (1958). Relativamente aos romances de Cary e Murdoch, ambos apresentam um protagonista “rogue” que é também um artista. Gulley Jimson, o pintor que procura a sua derradeira criação, e James Donaghue, o escritor em busca da sua inspiração, são duas personagens que propiciam uma reflexão sobre a arte e a ficção. Por sua vez, os romances de Wain, Amis, Braine e Sillitoe permitem ainda a sistematização das características dominantes do “rogue” na literatura dos anos cinquenta. Os protagonistas destas obras literárias, nomeadamente, Charles Lumley, Jim Dixon, Joe Lampton e Arthur Seaton são anti-heróis, personagens oriundas da classe média ou classe operária, que reflectem a insatisfação das novas gerações no período do pós-guerra no Reino Unido, e que se afirmam como personagens “anti-sistema”. O sucesso destas personagens é também celebrado nas adaptações cinematográficas de alguns destes romances, designadamente, Room at the Top (1958), realizado por Jack Clayton e Saturday Night and Sunday Morning (1960), de Karel Reisz, dois filmes que marcaram a “New Wave” do cinema britânico. iv Este capítulo conclui com uma reflexão sobre as várias adaptações da peça para rádio de Bill Naughton, Alfie Elkins and His Little Life (1962), evidenciando as possibilidades de metamorfose de uma personagem como o “rogue”. A análise comparativa de duas adaptações cinematográficas, Alfie (1966), realizado por Lewis Gilbert, e Alfie (2004), de Charles Shyer, permite observar os diferentes tratamentos do “rogue” em duas épocas díspares, nos anos sessenta e no início do novo milénio, e contribui para aproximar esta figura das personagens que constituem o foco de atenção do capítulo seguinte. O terceiro capítulo da tese (“The Rogue in the 1980s and Onwards: Transformations in the British Literary Scene”) incide sobre a literatura britânica contemporânea, desde os anos oitenta até à actualidade e compreende duas secções, uma dedicada à ficção de Martin Amis e uma outra reflectindo sobre a obra literária de Irvine Welsh. Nos romances de Amis, especialmente em Money: A Suicide Note (1984), London Fields (1989) e Yellow Dog (2003), e nas obras que constituem a triologia de Welsh, Trainspotting (1993), Glue (2001) e Porno (2002), o “rogue” torna-se um meio eficaz de reflexão sobre a sociedade britânica contemporânea e sobre as transformações socio-políticas e culturais vividas nas últimas décadas do último milénio. Deste modo, evidencia-se a capacidade de sobrevivência e de metamorfose desta figura na literatura pós-moderna. John Self, Keith Talent, Xan Meo, Mark Renton, Terry Lawson e Simon Williamson, os protagonistas dos romances de Amis e Welsh aqui estudados, são personagens com características distintas de outros anti-heróis. Desta maneira, são marginais, sem princípios ou valores que guiem a sua conduta, sobrevivendo à custa de múltiplas artimanhas, movendo-se frequentemente em ambientes de criminalidade e de v violência. Não obstante, o “rogue” é também uma personagem com um espírito peculiar, que se envolve frequentemente em situações insólitas e que apresenta uma ligeireza e uma comicidade que contrasta com a seriedade das temáticas a que, no entanto, também se presta. Assim, o “rogue” revela-se um veículo de entretenimento extremamente eficaz e simultaneamente uma personagem literária com múltiplas aplicações para os autores contemporâneos. Com efeito, é através das aventuras e desventuras dos seus protagonistas que autores como Amis e Welsh abordam nos seus romances algumas das temáticas recorrentes na contemporaneidade: o capitalismo e a sociedade de consumo, a cultura de massas e a cultura popular, a masculinidade associada à violência e à pornografia, e a condição pós-moderna em que vivemos. A dissertação termina com uma reflexão final que pretende alargar as conclusões atingidas em cada secção da tese, sistematizando as características principais da personagem “rogue”, da “literature of roguery”, e o seu impacto no presente. Na conclusão avalia-se assim o desenvolvimento literário desta personagem nas últimas décadas do século XX e no início do século XXI, e o modo como permite reflectir sobre a sociedade actual. Finalmente, segue-se uma secção com anexos e a bibliografia. Os anexos consistem numa entrevista concedida por
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