Ficção de acontecimentos e de fatos estritamente reais: o retorno do autor e a autoficção na literatura brasileira contemporânea

Abstract

The current paper aims to analyzing the course of the autofiction concept, coined by Serge Doubrovski, and how it has been taken as a portmanteau, especially in contemporary Brazilian literature. Our goal is to reflect upon the use of the term in press to designate any kind of text in which the author and the character could be, even if minimally, mistaken for each other and how it relates with the return of the author to the literary scene phenomenon, after Roland Barthes declaring him dead in 1968. Our theory is that the term, due to its broadening, ends up defining many experimental genres, which does not define in fact the presence of the author, now given in a different fashion, comes to corroborate so this definition is not as succeeded when compared to the French term. In Brazil, among countless works that could be a motto, we have chosen two: A chave de Casa, by Tatiana Salem Levy (2010) and O Diário da queda, by Michel Laub (2011); not aiming to achieve an unequivocal decision, but looking forward, mainly, to analyze which are the reasons why critics and media consider them autofiction. For doing so, firstly, how the author turns him/herself towards the literary scene, how s/he ends up travestying as a character and what is the intention in it; secondly we analyze the discussion regarding the concepts of autofiction, specially, in France; for then, finally, analyze how this theory happens I contemporary Brazilian literary works. In order to develop this research, we made use of authors who dialogue the aforementioned theories, namely: Philippe Lejeune, Serge Doubrovsky, Roland Barthes, Michel Foucault, Vincent Colonna, Diana Klinger, Paul De Man, Luiz Costa Lima, Sylvia Molloy, Andreas Huyssen, Friedrich Nietzsche, and etc., besides newspaper articles and blogs.