O pacto ambíguo em O irmão alemão: uma autoficção de Chico Buarque

Abstract

The autofictional literary works proliferate in the actual scenario of literary production, elevating the autofiction to the level of narrative tendency of the present time. However, studies that turn to their discourse are not consensual in their expositions and theorizations around autofiction are generally not confluent. Theories are often antithetical, with some theoretical perspectives on autofiction in inflected positions. The study of the auto-functional aesthetic phenomenon still unfolds in at least two streams of thought aimed at understanding autofiction: the strict perspective, based on the ideas of Serge Doubrovsky, and the broad perspective, grounded in the studies of Vincent Colonna. Imbued with so many controversies and uncertainties, the autofictional narrative is one of the most aesthetic themes of Contemporary Theory of Literature. Taking into account the complexity of autofictional representations, this paper aims to analyze Chico Buarque's The German Brother (2014), highlighting and highlighting his auto-functional nature: a literary work that deliberately fits fictional elements and factual elements and requires a peculiar contract established and sealed by the ambiguous pact. In short, in addition to an analytical study on the theory of autofiction, we intend to understand the auto-functional aesthetic phenomenon in its manifestation in the work The German brother. Thinking about the hybridity and ambiguity inherent in the autofictional discourse, the irruption of theoretical problems is inevitable: what is the specificity of autofiction? What are the speeches that comprise it? How does it manifest itself as an aesthetic phenomenon in a contemporary literary work, specifically in The German Brother? In order to resolve such questions, based mainly on Manuel Alberca (2007), Anna Faedrich (2014), Philippe Lejeune (2014), Vincent Colonna (2014), Serge Doubrovsky (2014) and Jacques Lecarme (2014), analyzes the theory of autofiction and its complexity. This analysis does not relegate the observation of the phenomenon itself, since the novel The German brother is imbued with a narrative structure peppered with biographical clippings by Chico Buarque, becoming a fecund object of analysis of the autoficcional discourse. The analysis of the novel itself and of the biographical traces inserted in it was based on the theoretical works of Regina Zappa (2011), Rinaldo de Fernandes (2013) and Andréa Delmaschio (2014). Throughout this work, the autofiction genre has aesthetic specificities in its discourse, such as the relation of onomastic identity, the ambiguous pact and fragments of existence, which distinguish it from other forms of self-writing, of autobiographical fiction. It is also observed that the literary work The German brother belongs to the set of works denominated autoficcional, since it is possible to identify in its textual tessitura the essential characteristics of the autoficcional genre, including the deliberate autorrepresentation on the part of the author, engendering, when merging factual data to fictional elements, the effect of ambiguity that reverberates throughout the work and characterizes the ambiguous pact