abstract
In this paper I approach the relationships between signature and authorship in Budapeste, by Chico Buarque and Divórcio, by Ricardo Lísias. It is my interest to linger in the gesture as an inexpresive edge that becomes present in the usage of authorials signatures that both fictions do. One as a mirror game between a ghostwriter that becomes recognized in a foreign country and Chico Buarque, who’s impact as a writer grows from the publication of his book. Besides, I stop in how the cinematographic version of Walter Carvalho of 2009, BudapesteBUDAPESTE (2009). Direção de Walter Carvalho. Roteiro de Rita Buzzar. São Paulo: Nexus Cinema e Video. (1h53min), reinstates the same fictional game of a novel, now drag to the cinema and opening a collective authorship zone regarding fiction. The second novel, Divórcio, by Ricardo Lísias, allow us to stop in a coincident game between authorial signature, narrator and character, but starting from a devaluation of the authorial image that that signature writes. These two ways allow me to rethink what it means to be an author and to read some of the conditions of Brazilian fiction - and south American - of the present.
Keywords:
signature; authorship; Chico Buarque; Ricardo Lísias