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Necropolis y urbanismo subalterno en ‘A paixão segundo G.H.’, de Clarice Lispector, ‘El silenciero’, de Antonio di Benedetto, y ‘Zumbido’, de Juan Cárdenas
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A literatura desempenhou um papel central na construção de imaginários sobre o urbano na América Latina. Obras como Os Sertões (1902), de Euclides da Cunha; el Facundo (1845), de Domingo Faustino Sarmiento; e La vorágine (1924), de José Eustasio Rivera, foram fundacionais nesse sentido. No entanto, trabalhos mais recentes se dedicaram a desvendar e questionar os fundamentos de tais concepções. Esse é o caso de A Paixão Segundo G.H. (1964), de Clarice Lispector; El silenciero (1964), de Antonio di Benedetto; e Zumbido (2010), de Juan Cárdenas. Assim, a presente dissertação indaga como esses três romances problematizam o que Henri Lefebvre chama de “a violência inerente ao espaço” e como compreendem as possibilidades existentes de superar os limites impostos por essa estrutura. Para isso, recorre ao conceito de necropolítica de Achille Mbembe, que se refere ao governo por meio da exposição à morte de grupos ou populações consideradas descartáveis, e ao conceito de urbanismo subalterno de Ananya Roy, que critica as práticas de centragem e mundanização que fixam as relações de poder pós-coloniais e que têm o âmbito urbano como eixo. Dessa forma, nos casos de Lispector e Di Benedetto, este trabalho foca na perspectiva burguesa sobre a urbanização acelerada no Brasil e na Argentina, e suas possíveis conexões com o assombrante fantasma da ditadura, enquanto com Cárdenas busca estabelecer um contraste a partir do ponto de vista menos confrontacional de seu narrador e sua abordagem dos efeitos da engrenagem de paramilitarismo e neoliberalismo na Colômbia. Nessa linha, argumenta que Lispector articula o antagonismo social por meio da estrutura do apartamento burguês brasileiro e seus vínculos com a arquitetura da escravidão, a partir do qual também propõe entender a reação da burguesia diante do crescimento exponencial da favela. Quanto a Di Benedetto, defende que a hipersensibilidade ao ruído de seu protagonista corresponde a uma nova experiência de propriedade, marcada por um medo do outro, ecoando a dualidade sarmientina de civilização e barbárie, e que leva, em última instância, ao estabelecimento do estado de exceção. Em terceiro lugar, sustenta que o romance de Cárdenas constitui uma reflexão sobre a influência de uma violência de cunho extrativista na configuração da cidade colombiana contemporânea. Finalmente, explora como intervenções subalternas pontuais nas três obras minam o caráter universal ou normativo das categorias do urbano e, simultaneamente, abrem horizontes de encontro que convidam a participar de novas formas de vida em comum. A dissertação encerra com uma reflexão sobre a persistência da mundanização da cidade do sul global e a importância de romper esses esquemas.
Literature has played a pivotal role in shaping imaginaries of the urban in Latin America. Works such as Euclides da Cunha’s Os Sertões (1902), Domingo Faustino Sarmiento’s Facundo (1845) and José Eustasio Rivera’s La vorágine (1924), among others, represent foundational contributions in this regard. However, contemporary novels have been committed to elucidating and questioning the grounds of these established conceptions. Significantly, Clarice Lispector’s A Paixão Segundo G.H. (1964), Antonio di Benedetto’s El silenciero (1964) and Juan Cárdenas’ Zumbido (2010) exemplify this intellectual endeavor. In that sense, this dissertation undertakes an exploration about how these last three novels address what Henri Lefebvre calls “violence that is inherent in space itself” and how they understand the possibilities of overcoming the barriers imposed by this phenomenon. In order to do so, I draw upon theoretical frameworks such as Achille Mbembe’s necropolitics, which refers to the governance of groups or populations considered disposable through the exposure to death, and Ananya Roy’s subaltern urbanism, which criticizes the practices of centering and worlding concerning the urban field that help to establish postcolonial power relations. With this in mind, I focus on the bourgeois perspective rendered by Lispector and Di Benedetto on accelerated urbanization in Brazil and Argentina and their possible links with the looming specter of dictatorship. At the same time, I attempt to set up a contrast with Cárdenas based on the less confrontational viewpoint of his narrator and his approach to the consequences of paramilitarism and neoliberalism entanglement in Colombia. Within this context, I argue that Lispector articulates social antagonisms through the structure of the Brazilian bourgeois apartment and its connections with the architecture of slavery, from which she also proposes an understanding of the bourgeoisie’s reaction to the unstoppable growth of the favela. Regarding Di Benedetto, I contend that the hypersensitivity to noise of his protagonist corresponds to a new experience of property, marked by a fear of the Other that echoes Sarmiento’s dichotomy of civilization and barbarism and which ultimately leads to the establishment of the state of exception. Thirdly, I assert that Cárdenas’s novel constitutes a reflection on the influence of extractivist-style violence in shaping the contemporary Colombian city. Finally, I explore how specific subaltern interventions in the aforementioned three works undermine universal or normative urban categories and how, simultaneously, they open up the possibility of encounters that allow people to participate in new commonalities. The dissertation concludes with a reflection on the persistence of the worlding of the city of the Global South and the importance of breaking free from those ideas.
Literature has played a pivotal role in shaping imaginaries of the urban in Latin America. Works such as Euclides da Cunha’s Os Sertões (1902), Domingo Faustino Sarmiento’s Facundo (1845) and José Eustasio Rivera’s La vorágine (1924), among others, represent foundational contributions in this regard. However, contemporary novels have been committed to elucidating and questioning the grounds of these established conceptions. Significantly, Clarice Lispector’s A Paixão Segundo G.H. (1964), Antonio di Benedetto’s El silenciero (1964) and Juan Cárdenas’ Zumbido (2010) exemplify this intellectual endeavor. In that sense, this dissertation undertakes an exploration about how these last three novels address what Henri Lefebvre calls “violence that is inherent in space itself” and how they understand the possibilities of overcoming the barriers imposed by this phenomenon. In order to do so, I draw upon theoretical frameworks such as Achille Mbembe’s necropolitics, which refers to the governance of groups or populations considered disposable through the exposure to death, and Ananya Roy’s subaltern urbanism, which criticizes the practices of centering and worlding concerning the urban field that help to establish postcolonial power relations. With this in mind, I focus on the bourgeois perspective rendered by Lispector and Di Benedetto on accelerated urbanization in Brazil and Argentina and their possible links with the looming specter of dictatorship. At the same time, I attempt to set up a contrast with Cárdenas based on the less confrontational viewpoint of his narrator and his approach to the consequences of paramilitarism and neoliberalism entanglement in Colombia. Within this context, I argue that Lispector articulates social antagonisms through the structure of the Brazilian bourgeois apartment and its connections with the architecture of slavery, from which she also proposes an understanding of the bourgeoisie’s reaction to the unstoppable growth of the favela. Regarding Di Benedetto, I contend that the hypersensitivity to noise of his protagonist corresponds to a new experience of property, marked by a fear of the Other that echoes Sarmiento’s dichotomy of civilization and barbarism and which ultimately leads to the establishment of the state of exception. Thirdly, I assert that Cárdenas’s novel constitutes a reflection on the influence of extractivist-style violence in shaping the contemporary Colombian city. Finally, I explore how specific subaltern interventions in the aforementioned three works undermine universal or normative urban categories and how, simultaneously, they open up the possibility of encounters that allow people to participate in new commonalities. The dissertation concludes with a reflection on the persistence of the worlding of the city of the Global South and the importance of breaking free from those ideas.
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Literatura Urbanismo Clarice Lispector Antonio di Benedetto Juan Cárdenas