Artesania descritiva nos romances de Adriana Lisboa

Abstract

We analyzed the fictional space in novels by Adriana Lisboa, from an excerpt consisting of the following corpus: Um beijo de colombina (2003), Rakushisha (2007), Azul corvo (2010) and Hanói (2013), but with some references also to Sinfonia em branco (2001) and Todos os santos (2019). The descriptive category of space stands out in all of the fictionalist's work, but the clipping of our corpus starts from the observation of a content and formal affinity in these four novels. Her characters are employed from the lower class, working at the service sector, living in large cities in the 21st century, lonely, uprooted from their family backgrounds, with few social relations and circumscribed to the spaces of their daily lives. In confluence to this, the text dedicates long descriptions in the relation of these characters with their space. The descriptive category in Adriana presents these problems, referenced in our contemporaneity, from which she performs cutouts and rearrangements, composing a fictional space that becomes autonomous. Thus, it originates from the extratextual universe, referenced, but in its autonomy it also starts to focus on the perception of recognizable reality. In this sense, we first analyzed the matters of realisms and mimesis, considering realism as a constituent of reality, with Tânia Pellegrini, and mimesis as a constituent of being, with Luiz Costa Lima. Then, we deal with the author's critical stance towards aestheticization, the current stage of capitalism in terms of Gilles Lipovetsky and Jean Serroy. And finally, we articulate the spacetime relationship with the concepts of topophilia and philosophy of rest, by Gaston Bachelard, "the spatial form", by Joseph Frank and "lightness", by Gilles Lipovetsky. We conclude - and this is our thesis - that in Adriana Lisboa's novels there is a peculiar dynamic, in the staged descriptions, between referential space and fictional space - and to this way of narrating, which creates varied effects of meaning, we call descriptive craftsmanship