Mito, história e narrativa em Le Roi des Aulnes, de Michel Tournier / Myth, history and narrative in Le Roi des Aulnes, from Michel Tournier
Aline da Silva Lima Villi
DATA DE PUBLICAÇÃO
The re-elaboration of myths deeply characterizes the work of the French writer, Michel Tournier. The present research focused itself on the analysis of his novel Le Roi des Aulnes, published in 1970, which narrates the trajectory of a fantastic character in a quest for his fate in the middle of World War II, at the center of the Nazist Empire. The research focused on the strategies employed to build a narrative that so strongly links historic issues with mythic elements, aside from investigating the critical potential of that work. From a specific bibliography, it tried to place the concept of myth, observe its religious and political aspects and analyze the configuration that the author gave to myth in his work. In general, mythic re-creation showed itself to be an insufficient concept to the literary analysis and interpretation, since limiting the novel to its mythic-religious sphere leads to poor comprehension of the work. The research also revealed that between myth and history there are several sense transference processes, which operate thanks to the authors storytelling and creativity, so that historic elements were incorporated to the work in twisted, veiled and at times mythologized ways, just as mythic elements conduce severe critics to nazist ideology and politics. Mythic aspects of the work operate above all to create moral guidelines within which characters act, besides making room for the reader to participate in the construction of the sense of the work, as he gets involved by the configured mythic system. On its turn, the historicity of this work counts above all with the instability of formal elements as well as of the paradoxes and vicissitudes engendered by mythic elements to indicate, far more than the record of a time, the literary projection of a historic dilemma. In other words, this novel is deeply critical and historicizing precisely because it does not employ realistic descriptive and stable language; it is in the recognition of the precariety of expression - on those moments that only multireferenced and delirious language can approach a problematic historic context - that the possibility for lucidity and elaboration shimmers on the horizon.