From naturalisms to contemporary Brazilian art

the relation between art and science

Authors

  • Juliana de Assis Beraldo UFRJ – Universidade Federal do Rio de Janeiro. Faculdade de Letras – Departamento de Ciência da Literatura – Programa de Pós-graduação em Ciência da Literatura. Rio de Janeiro – RJ – Brasil. https://orcid.org/0009-0000-4033-7140

DOI:

https://doi.org/10.58943/irl.v1i56.17831

Keywords:

Naturalisms, Contemporary poetry, Contemporary cinema, Art, Science

Abstract

There is in the prefaces of novels by Émile Zola (Thérèse Raquin, 1868) and by the brothers Jules e Edmond de Goncourt (Germinie Lacerteux, 1861; La fille Elisa, 1876 and Les frères Zemganno, 1879) the evocation of a specific place of the writer or the narrator as a researcher or scientist and of a specific methodology of novel construction from the gathering of notes, clippings and observations, thus composing a particular conception of literature and science. Dwelling on these questions, the aim of this article is to investigate the approximations or dissonances between the propositions of naturalisms (BECKER; DUFIEF, 2017) and two works of Brazilian contemporary art - parque das ruínas, by Marília Garcia (2018), and Viajo porque preciso, volto porque te amo, by Marcelo Gomes and Karim Aïnouz (2009) - with regard to the relationship that is established between art and science. From an analysis of textual aspects to extratextual spheres and other elements of visuality, this paper investigates, echoing the discussions of Bruno Leites (2017), the procedures and proposals that may connect French naturalisms and Brazilian art in contemporaneity.

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Published

07/08/2023

Issue

No. 56 (2023): Naturalism/naturalisms, from the 19th to the 21st century: questions of form, class, race and gender in literature

Section

Articles

License

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