A escrita da voz em Clarice Lispector: Água Viva

Abstract

Our aim is to characterize the writing of the voice in Clarice Lispector, using the Lacanian idea of the voice as an object, indeed, as one of his objects a. The voice is a crucial element in Clarice Lispector’s project. Since her first novel, her work moves in the direction of the breath and the scream, even if this becomes more visible only in her later books, in which the narrative and the characters are more and more rarified. The voice is the preservation of a certain orality, the stress being placed on the sound of words, and not on their meaning; the writing moves towards the music and the painting, abandoning words. Language is pushed to its limits, as the narrative and the imaginary are deflated, in benefit of the rythm and of the breathing. Lacan’s perspective, but also Barthe’s view on the grain of the voice the jouissance of the text allow us to see this particular mode of inscription of the voice in the text, that is particularly striking in Água Viva, one of Lispector’s last books.