Name: CARLOS ALEXANDRE DA SILVA ROCHA
Publication date: 13/12/2023
Examining board:
Name |
Role |
|---|---|
| FERNANDO SIMPLÍCIO DOS SANTOS | Examinador Externo |
| RICARDO LÍSIAS AIDAR FERMINO | Examinador Externo |
| ROSANNE BEZERRA DE ARAÚJO | Examinador Externo |
| VITOR CEI SANTOS | Presidente |
| WILBERTH CLAYTHON FERREIRA SALGUEIRO | Examinador Interno |
Summary: In 1989, Hilda Hilst announced that she would stop producing serious literature and that she
would write pornographic and obscene books; in 1990, she released O caderno rosa de Lori
Lamby, the first book that made up her obscene tetralogy, followed by Contos d'escárnio &
textos grotescos, from 1990, Letters from a seducer, from 1991, and Bufólicas, from 1992, the
only one in verse. In these works, the author, based on satire, mocks and lays bare the
confessional biopower. Thus, this thesis has as its corpus Hilst's obscene tetralogy, in which
there is the lowering of sovereign and disciplinary biopower, studied by Michel Foucault
([1984], 2001), and the mechanisms of power of the control society, enunciated by Gilles
Deleuze ([1995] 2013). By highlighting the use of confession in the narration of the narrators
Lori, Karl, Crasso and the auric figures of Bufólicas, Hilst undermines this technology of power,
demonstrating, in a way, that her project would have the function of satirizing the pornographic
and confessional genre marketed at the time of publications. In this sense, the work is a
theoretical study that analyzes the satire on biopower present in the obscene tetralogy, relating
it to the notions of sovereign, disciplinary society and control, under the aim of the reflections
on the subject of Achile Mbembe (2018), Vladimir Propp ([1976] 1992), Linda Hutcheon
([1984] 1985) and Henri Bergson ([1941] 1987), in addition to the previously mentioned
theorists. The objective is to investigate how satire is carried out in the obscene tetralogy and
how Hilda Hilst composes a set of works in which confession satirizes the very act of mapping
oneself in front of the world.
