A Imagem da Letra: confluência dos textos verbal e imagético em O caminhão, de Marguerite Duras

Abstract

Marguerite Duras presents in her work a desire for destruction that passes through the text first and then moves on to the image. The movement through which his books and films move will lead to a desouvrement, as proposed by Maurice Blanchot (2005), because they are constituted of annihilation and there, in the ruin, in its rudimentary remains, its foundation. The Durasian work thus goes through the night-time experience of art, which is not sustained by any law or truth, which offers no security to the one who is willing to listen to its ominous noise and walks towards its disappearance. That is, it is useless to the world - to this it only tells what is precious - this art happens only as power, beyond what can be measured, because it is not limited. It assumes, moreover, the character of a "useless passion" that is not corrupted by the glorified image of the artist, by the material or cultural absolute. In view of this, Marguerite Duras writes, produces and directs in 1977 the work, book and film (or book/film), The Lorry - in this, the filmmaker subverts the imagery logic of cinema by replacing own actions with commercial films and experimental, made up to the moment, by the reading, that is, by the non-staging / interpretation of the text. Therefore, this work was proposed to reflect on the confluence of the verbal and imaginary texts in The Lorry, likewise considering the notion of writing, in order to arrive at the Blanchotian meaning of literary experience. In addition, it is intended here to think the relations between failure and creation of text, culture and art, memory and feminine, based on the works of Duras, Blanchot and other complementary theories, such as Lacanian psychoanalysis.