O fotográfico em Budapeste de Chico Buarque: Uma intersemiose verbo-visual

Abstract

The aim of this paper is to signalize the thematic of the double, which was recurring on the nineteenth century due to the influence of scientific innovations on the optics field, in Chico Buarque's novel Budapeste. It will highlight and study simultaneously the repeated references from the text to the photography and to the photographic. It is a matter of showing that when the technical images photographies, movies, video and television , populate the world, they make us think about the real and the imaginary, essential elements of the literary production which borrows the visuality and ambivalences of the photography, bringing visuality to the words themselves. Methodologically, these developments will be based on the concept of dialogism, as defined by Bakhtin, and on an ensemble of critical theories about photography, with special attention to the thoughts of Roland Barthes, Philippe Dubois e Vilém Flusser. But, to comply with the creative universe of the author, it is made reference also to the three psychical references of real, imaginary and symbolic (RSI), as proposed by Lacan, and also, to the mirror showed by the lacanian psychoanalysis on the definition of the "mirror stage" concept, since it constitutes a confirmation of the duplicity in the core of human subjectivity. The investigation shall have two phases. First, the theme of the "double" itself will be examined highlighting, on the novel, the optical mechanisms that have the duplication, the mirror and the technical image as their purpose and considering the photography as a paradigm for the image production on the modern society of the nineteenth century. Afterwards, we will analyze how the construction happens through the verbal or "verbo-visual" sign on the novel Budapeste, and its relation with the author's work