Ane Beatriz dos Santos Duailibe

O PALCO EXPANDIDO DE B. KUCINSKI

Introduction

O palco expandido de b. Kucinski. Descubra a performance autoral expandida de B. Kucinski na era digital. Analisa sua autoficção e a função ética da literatura contra o esquecimento das atrocidades da ditadura brasileira.

Abstract

Na era da cultura de massa e das mídias digitais, a função do autor se expande para além do texto, transformando-o em um performer no espaço público. Partindo dessa premissa, que se insere no debate sobre o retorno do autor, este artigo investiga a performance autoral de Bernardo Kucinski. Para o alcance dessa compreensão, discute-se o autor contemporâneo e os dispositivos de visibilidade da cultura midiática, a partir de teóricos como Lejeune (2014), Groys (2016) e Aguilar e Cámara (2017). Na sequência, observa-se a construção da figura do auctor B. Kucinski em sintonia com o conceito de autoralidade de Maingueneau (2010). Por fim, analisa-se Os visitantes (2016c), e sua estrutura autoficcional (Doubrovsky, 2014; Colonna, 2014; Klinger, 2012), cuja narrativa funciona como uma encenação do autor, da recepção crítica e dos conflitos da memória traumática. Conclui-se que Kucinski utiliza essa performance expandida para cumprir uma função ética, transformando a literatura em um palco para o debate e um instrumento contra o esquecimento das atrocidades ocorridas durante o regime ditatorial brasileiro.

Review

This article presents a timely and pertinent investigation into the evolving role of the author in the contemporary media landscape, particularly focusing on Bernardo Kucinski's "expanded stage." By positioning the author as a public performer beyond the confines of the text, the study skillfully engages with current debates surrounding the "return of the author" in an era dominated by mass culture and digital media. The premise sets a compelling foundation for exploring how literary figures navigate and shape public discourse, offering a fresh perspective on authorial presence and its implications for literary engagement. The title itself, "O PALCO EXPANDIDO DE B. KUCINSKI," encapsulates the central metaphor and promises an insightful analysis of Kucinski's strategic use of his public persona. The theoretical framework outlined in the abstract appears robust and well-chosen, drawing upon key scholars in authorship, media culture, and autofiction. The discussion of the contemporary author and media visibility, referencing theorists like Lejeune, Groys, and Aguilar and Cámara, provides a strong conceptual grounding for understanding Kucinski's public persona. Furthermore, the application of Maingueneau's concept of authoriality to deconstruct the figure of "auctor B. Kucinski" promises a nuanced understanding of how Kucinski constructs and performs his authorial identity. The subsequent turn to autofiction through Doubrovsky, Colonna, and Klinger offers a critical lens through which to analyze *Os visitantes*, suggesting a methodological sophistication that connects theoretical insights with textual analysis. The article's analytical focus on *Os visitantes* and its autofictional structure is particularly promising, treating the narrative not merely as a text but as a "staging" of the author, critical reception, and the profound conflicts of traumatic memory. This approach suggests a dynamic interplay between creation, reception, and the author's public engagement with sensitive historical subjects. The conclusion, highlighting Kucinski's use of this "expanded performance" for an explicit ethical function – transforming literature into a platform for debate and a tool against forgetting the atrocities of the Brazilian dictatorial regime – underscores the profound societal relevance of this research. This emphasis on literature's capacity to serve as a memory-keeper and a catalyst for ethical reflection marks a significant contribution to both literary studies and cultural criticism concerning political memory.

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