CHASING THE OBJECT: UNSTRESSED AND TONIC ANTI-SUBJECTS

Abstract

This paper verifies how interruptions are regulated in Luiz Gê’s "Futboil" comic story. Zilberberg’s missivity studies (2006) that when the emissive making prevails, the route of the subject evolves, the narrative progresses and that when the remissive making reigns, the anti-subject enters the scene, and the route of the subject suffers a stop in its evolution, becoming latent. It is about a merge in the narrative between the stop (remissivity) and the stopping of the stop (emissivity). We examined in comparative terms two comic stories which go along two diverse ways: one of them in remissive dominance, the other in emissive dominance; we found pertinence in the study of anti-subject’s function – that is, to derange the “subject → object” sequence. If the anti-subject was not present, the subject-object would go to a depletion of the narrative, that is, an absolute harmony. We start by proposing two types of anti-subjects: one of low density, unstressed, which weakly interrupts the path of the subject; another of high density, tonic, which strongly interrupts the narrative or, in some cases, as at the end of "Futboil "(destruction of the balloon), that introduces a final stop, coming to destroy the very desired object. The latter type paradoxically plays the actantial role of anti-subject and subject: the characters themselves want, they themselves achieve and they themselves tear the balloon into pieces.