Pigmalião das palavras: metaficção em A confissão de Lúcio e em Jogo da cabra cega

Abstract

The purpose of this research was to point out in A confissão de Lúcio (1914), by Mário de Sá- Carneiro, and in Jogo da cabra cega (1934), by José Régio, the presence of a metafictional device, veiled in the farce of the plot proposed by the narrators of these respective works. In order to achieve this possibility of reading, this research invests in the analytical comparison of the compositional resources engendered by the narrators Lúcio Vaz and Pedro Serra, highlighting in this path the manipulation of the narrative data carried out by these autodiegetic voices. However, the recognition of these narrative management strategies does not satisfy the analytical focus submitted by this research to the narratives assessed, since the interpretative horizon pursued here concerns the attempt to unveil the possibility of reading these accounts according to the apprehension of the metafictional content omitted by their narrators. In line with this desideratum, the aim of this study was to examine the different strategies used by Lúcio and Serra to conceal the debate about the production of a text in aesthetically crafted language in the diegetic mesh. Thus, this work seeks to invest in the hypothesis of approaching A confissão de Lúcio and Jogo da cabra cega as works that hide, in the labyrinthine game of narrative discourse, their constitution as artifacts, or more specifically, their own fictional nature. To help compare these texts, we propose a dialogue with the operational narrative concepts, engaging in dialogue with Gèrard Genette (2017), Roland Barthes (2004) and Maurice Blanchot (2011). The debate about the metafictional aspects of the works investigated uses the comments made by Linda Hutcheon (1991) and Patricia Waugh (1985) about the narratives that discuss the mechanisms of composition themselves.