De verme a sobrevivente: o sujeito discursivo em "Maus", de Art Spiegelman
Data
2021-02-23
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
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Resumo
Maus (SPIEGELMAN, 2009), ao narrar a história de um filho de sobreviventes e as
consequências da Segunda Guerra Mundial em sua família, utiliza de diferentes
planos e ângulos de visão responsáveis por produzirem diferentes efeitos de
sentido, a partir de instâncias ideológicas que determinarão o lugar de fala e a/as
posição/posições do sujeito. A pesquisa tem como objetivo analisar de que forma a
materialidade discursiva da personagem Vladek Spiegelman, por meio do discurso
sócio-histórico, comprova para a constituição do sujeito discursivo, por intermédio
das formações discursivas e ideológicas propostas pela Análise do Discurso (AD)
de linha francesa, a partir dos estudos de Pêcheux (1988, 2014), Foucault (2008;
2016) e Courtine (2014). Um dos fatos que mais chamam a atenção em Maus é a
forma como o quadrinista constrói as personagens que, ao retratar as diferentes
etnias, utiliza do antropomorfismo (os judeus, os ratos; os alemães, os gatos; os
poloneses, os porcos etc.). Ao longo da narrativa, podemos identificar três vieses
narrativos: a história de sobrevivência de Vladek Spiegelman, o relacionamento
complicado entre pai e filho, e a própria história de Art. Para a análise, então,
partiremos do princípio de que nos dois vieses narrativos, a história de
sobrevivência de Vladek e o relacionamento entre Art e Vladek, presentes na
história em quadrinhos, há dois padrões, aos quais chamaremos de Formação
Discursiva genocídio e Formação Discursiva familiar. A partir de cada FD,
analisaremos, por meio da construção de tempo e espaço, proposta por Cagnin
(2014), Ramos (2016) e Eisner (2012), como o discurso sócio-histórico, ao emergir
na materialidade discursiva dada pelo antropomorfismo, constitui Vladek
Spiegelman em um sujeito discursivo. Analisaremos seis trechos correspondentes
ao viés narrativo 1: FD genocídio; e seis ao viés narrativo 2: FD familiar. Para isso,
partiremos das seguintes categorias: a relação de força, responsável por determinar
o lugar de fala do sujeito; o pré-construído, as verdades construídas no discurso; a
memória, que funciona como um jogo entre o passado e atualidade; e o tempo e o
espaço, elementos essenciais dos quadrinhos. Em cada FD temática, existirá uma
posição de sujeito e, consequentemente, formações ideológicas distintas capazes
de proporcionar uma relação de força. Para a literatura teórica dos quadrinhos, o
uso do antropomorfismo possui um significado que vai além do imaginário gato e
rato como inimigos naturais. A construção do cenário, as alternâncias de tempo e a
forma como as personagens são posicionadas corroboram o autoritarismo e
demarcam as consequências da guerra na vida de Art e no relacionamento com o
pai, Vladek. A construção do tempo é essencial para determinar o antropomorfismo
em Vladek como um sujeito discursivo e ideológico, afinal, quando a personagem
está no contexto da guerra, notamos que as ações e os acontecimentos se dão,
justamente, por ser retratado como um rato, enquanto os momentos que
atravessam o pós-guerra, as interpelações de sujeito presente em Vladek, são
indiferentes em relação ao antropomorfismo, ou seja, são outros fatores que o
determinarão como um sujeito discursivo.
Maus (SPIEGELMAN, 2009), by telling the story of a survivor’s son and the consequences of World War II for his family, draws on different points of view that generate different meanings from which ideological instances will determinate the place of speech and the positions of the subject. The research aims to analyze how the discursive materiality of the character Vladek Spiegelman, through social-historical discourse, confirms the constitution of the discursive subject, through the discursive and ideological formations proposed by the Discourse Analysis (FDA), based on the studies of Pêcheux (1988, 2014), Foucault (2008; 2016) and Courtine (2014). One of the highlighting facts of Maus is how the author builds his characters that, by portraying different ethnicities, applies the anthropomorphism (jews, rats; germans, cats; polishs, pigs etc.). In the course of the narrative, we can identify three different narrative biases: the survival story of Vladek Spiegelman, the complicated relationship between father and son, and Art's own story. For the analysis, then, we will assume that there are two patterns in the two narrative biases, the story of Vladek's survival and the relationship between Art and Vladek, present in the comic book, which we will call the Genocide Discursive Formation and the Family Discursive Formation. From each DF, we will analyze, through the construction of time and space, proposed by Cagnin (2014), Ramos (2016), and Eisner (2012), how socio-historical discourse, by emerging in the discursive materiality provided by anthropomorphism, constitutes Vladek Spiegelman in a discursive subject. Accordingly, we will analyze six passages on the first narrative line: Genocide Discursive Formation; and six from the second narrative line: Family Discursive Formation. To do so, we start from the following categories: the power relation, responsible for determining the subject’s place of speech; the pre-built, which are the truths conceived inside the speech; the discourse memory, that works as a game between the past and the present; time and space, indispensable elements for the comic books. In each thematic Discursive Formation, there will be the subject’s position and, therefore, different ideological formations that will provide a power relation. For the comic books' theoretical reading, the use of anthropomorphism offers a meaning far beyond the regular imaginary image of the cat and the rat as natural enemies. The construction of the scenery, time rotation, and how characters are arranged, corroborate the authoritarianism and to demarcate the consequences of World War II in Art’s life and the relationship with his father, Vladek. Time construction is essential to determine the anthropomorphism in Vladek as a discursive and ideological subject, after all, when the character is inside the war context, we notice situations and incidents happen precisely because it is portrayed as a rat. While the moments that cross the post-war period, the approaches of the subject presented in Vladek are indifferent to anthropomorphism, in other words, other factors will be responsible for determinate it as a discursive subject.
Maus (SPIEGELMAN, 2009), by telling the story of a survivor’s son and the consequences of World War II for his family, draws on different points of view that generate different meanings from which ideological instances will determinate the place of speech and the positions of the subject. The research aims to analyze how the discursive materiality of the character Vladek Spiegelman, through social-historical discourse, confirms the constitution of the discursive subject, through the discursive and ideological formations proposed by the Discourse Analysis (FDA), based on the studies of Pêcheux (1988, 2014), Foucault (2008; 2016) and Courtine (2014). One of the highlighting facts of Maus is how the author builds his characters that, by portraying different ethnicities, applies the anthropomorphism (jews, rats; germans, cats; polishs, pigs etc.). In the course of the narrative, we can identify three different narrative biases: the survival story of Vladek Spiegelman, the complicated relationship between father and son, and Art's own story. For the analysis, then, we will assume that there are two patterns in the two narrative biases, the story of Vladek's survival and the relationship between Art and Vladek, present in the comic book, which we will call the Genocide Discursive Formation and the Family Discursive Formation. From each DF, we will analyze, through the construction of time and space, proposed by Cagnin (2014), Ramos (2016), and Eisner (2012), how socio-historical discourse, by emerging in the discursive materiality provided by anthropomorphism, constitutes Vladek Spiegelman in a discursive subject. Accordingly, we will analyze six passages on the first narrative line: Genocide Discursive Formation; and six from the second narrative line: Family Discursive Formation. To do so, we start from the following categories: the power relation, responsible for determining the subject’s place of speech; the pre-built, which are the truths conceived inside the speech; the discourse memory, that works as a game between the past and the present; time and space, indispensable elements for the comic books. In each thematic Discursive Formation, there will be the subject’s position and, therefore, different ideological formations that will provide a power relation. For the comic books' theoretical reading, the use of anthropomorphism offers a meaning far beyond the regular imaginary image of the cat and the rat as natural enemies. The construction of the scenery, time rotation, and how characters are arranged, corroborate the authoritarianism and to demarcate the consequences of World War II in Art’s life and the relationship with his father, Vladek. Time construction is essential to determine the anthropomorphism in Vladek as a discursive and ideological subject, after all, when the character is inside the war context, we notice situations and incidents happen precisely because it is portrayed as a rat. While the moments that cross the post-war period, the approaches of the subject presented in Vladek are indifferent to anthropomorphism, in other words, other factors will be responsible for determinate it as a discursive subject.