DOR, SOFRIMENTO E MORTE DE SI: REPRESENTAÇÕES DO COLAPSO SUBJETIVO EM A ARTE DA AUTOMUTILAÇÃO, DE FELIPE LION, E UM BURACO COM MEU NOME, DE JARID ARRAES

Abstract

The present thesis aims to investigate the representations of pain, suffering, and the death of the self in contemporary Brazilian poetry, based on the problematization of suicide and subjective collapse as experiences that have been historically silenced, stigmatized, and aesthetically elaborated through literary language. The general objective is to investigate these representations, taking as objects of study A arte da automutilação, by Felipe Lion (2013), and Um buraco com meu nome, by Jarid Arraes (2018), analyzing the intersections between theme, from a historical perspective, death drives, from a psychoanalytic perspective, and style, from a stylistic perspective, in order to observe how the works transform the wounded body (physically, pathologically, and symbolically) into poetic and performative enunciation. The specific objectives are: to discuss the historiography of suicide and the death of the self and their literary representations, observing their symbolic displacements over time; to examine, in the light of psychoanalysis, the life and death drives implicated in the poems of both authors in the corpora; and to understand how the style and formal choices of each author articulate the experience of pain, suffering, and the death of the self (whether consummated or symbolic) with aesthetic creation. The research corpora consist of the two aforementioned poetry collections, analyzed through a qualitative, comparatist approach, grounded in the reading and analysis of literary texts and in the process of constructing meaning from the nuances, convergences, and resonances that emerge between authors from different backgrounds and contexts. The theoretical framework articulates foundations of New History, especially in Georges Minois and Philippe Ariès, of psychoanalysis, with Sigmund Freud and Marcelo Veras, and of contemporary literary criticism, with emphasis on Alfredo Bosi, Norma Goldstein, and Antonio Candido. As for the methodological path, the study is organized into three chapters: the first presents the historical perspective of suicide and the death of the self, as well as a survey of the state of the art through the CAPES Catalog of Theses and Dissertations; the second develops the psychoanalytic approach, with emphasis on drive theory and the concept of the death of the self; and the third is dedicated to the stylistic analysis of the works, considering the formal elements of poetic language. The poems by Lion (2013) are analyzed according to the tripartite organization of his work, while those by Arraes (2018) are selected from the first three sections (“selvageria,” “fera,” and “corpo aberto”), which deal, respectively, with the primary dimension of pain, the conflictual character of existence, and the physical and symbolic exposure of suffering. The results show that, although originating from distinct authorial trajectories, both works converge in the symbolic elaboration of the death of the self as an aesthetic experience, whether through imagistic fragmentation, introspection, and the contemplation of death in Lion (2013), or through the articulation between body, violence, social suffering, and resistance in the poetics of Arraes (2018), demonstrating that, in addition to thematizing pain, poetry formally enacts it through cuts, silences, violent bodily images, and rhythmic intensification.