ENTRE CORPO E ARTE: A TRAVESSIA EM PAIXÃO SEGUNDO G.H.

Abstract

This study proposes a comparative analysis of Clarice Lispector's The Passion According to GH, whose crossing between the body and art reveals unfolding of being before the becoming, which, in order to exist and to be self-sufficient, must be escaped from silence and pronounce with authenticity, since whoever is silent is closer to anonymity and has no identity, property. Therefore, we seek to explore, in the narrative, the construction of the being that is inherent in the formation and manifestation of its expressiveness. Dumbness is the revelation of fragility, the distressing and disturbing fragmentation of bodies in interaction. Through language, bodies can interact, strangling, disintegrating, and rebuilding themselves in the face of the unusual. The muted language of G.H. manifests a non-existence, an anonymity that, in the face of becoming, becomes uneasy, reveals the pains of being and of defining oneself. In the face of everyday and banal events, literary art attributes a new configuration to the object and this new sudden illumination in the consciousness of the extras allows new insights into life, a kind of epiphany. In this crossing, this study seeks to analyze the crossing between the body and the art, promoting dialogues, which will dehumanize the image of the conventional human, disobjectifying the being and revealing its component side, actant and work of art, as the body language is captured through of the body experiment. The very existence is used as an artistic representation, as a thinking object, whose main function is to create symbols, since the image is not intended to make the meaning it has more comprehensible, but to make the object artistic because it represents a particular vision , a new perception about the object. The research adopts a current hermeneutical approach, phenomenological, existentialist and comparative, since it is understood that they are indispensable items to develop this study about the crossing between the body and the work of art, in order to show that the body-language is the authenticity of being in the literature by Clarice Lispector.