CRIME AND ARCHIVE: A COMPARATIVE STUDY OF COIVARA DA MEMÓRIA, BY FRANCISCO DANTAS, AND ANGÚSTIA, BY GRACILIANO RAMOS
Angústia. Coivara da memória. Crime. Narrator. Writing process.
The present text is a result of doctoral research that began during the master's degree, based on critical readings of works that make up the corpus of this work. The selected novels comprise the works Angústia and Coivara da memória by Graciliano Ramos and Francisco Dantas, respectively. Taking these narratives as a guide, this thesis intends to investigate how crime is configured in this writing process, that is, the search for a crime in the said works concerns what we call crime as "archival evil" grounded on the work Mal de arquivo: uma impressão freudiana (Mal d’Archive, in original) by Derrida. He criticizes the classical conception of archive, shifting to the evil of archive which ceases to have an ontological vision that records a beginning and dates a history to move by an archiviolithic pulsation. In this sense, the term archive in the sense assigned by Derrida can refer both to the cursed archive and also in the more open and revolutionary sense of remembering and forgetting. This is because in both works rumors and threats are gaining different contexts and violence appears in different faces, that is, the stories are remembered and therefore are told from the point of view of the narrators and their relationships with violence. To do so, the research is presented in four chapters, the first one focuses on the reception and critical fortune of Graciliano Ramos and Francisco Dantas. We also tried to discuss the place Dantas occupies as an author and researcher who comes from the heritage of tradition, who writes from a memory, who reworks and transforms this heritage. A study of the novel of the 30s and its respective division between regionalist and intimist was also presented. The second chapter discusses the role of the narrator and the theories of point of view that occupy a fundamental position in these narratives, whose narrators act as subjects and objects of their memories, since there is a fine line between past and present. In the third chapter, we tried to analyze narrative, violence, and memory, from the perspective of crime itself, crime as an "archival evil". Finally, the fourth chapter discussed crime as a linguistic game, that is, the materialization of memory through writing, since the narrators, when writing a book about the memory of their lives try, in a way, to redeem the own faults.