Abstract
This article aims to analyze the mirroring present in “Instantâneo da desmedida,” the penultimate text in Um beijo por mês (2018ARÊAS, Vilma (2018). Instantâneo da desmedida. In: ARÊAS, Vilma. Um beijo por mês. São Paulo: Luna Parque.), by Vilma Arêas. By locating her character in an art gallery with photographs of diferente scales, the author enables an endless game capable of generating reflections around literary art itself, since the arrangement of objects articulates occurrences that disturb the spectator, confusing her as to the real scale of scenes and spaces, like the “snapshots” of Arêas's volume. Based on these considerations, we highlight mise en abyme as one of the foundations of Vilma Arêas' writing. To this end, the proposal for a possible analysis of the mentioned text is launched here from the formulations of Lucien Dallenbach (1979DALLENBACH, Lucien (1979). Intertexto e autotexto. Intertextualidades: Revista de Teoria e Análises Literárias, Coimbra, n. 27, p. 51-76. Tradução do original Poétique - Revue de Théorie et d´Analyse Littéraires por Clara Crabbé Rocha.; 1977DALLENBACH, Lucien (1977). Le recit spéculaire: essai sur la mise en abyme. Paris: Seuil.; 1972DALLENBACH, Lucien (1972). Le livre et ses miroirs dans l’oeuvre romanesque de Michel Butor. Paris: Archives des Lettres Modernes.), among other theorists. Furthermore, André Malraux's (2006MALRAUX, André. (2006) Le musée imaginaire. Paris: Gallimard.; 1996MALRAUX, André (1996). La politique, la culture. Paris: Gallimard.) reflections on the imaginary museum will help in the discussion.
Keywords:
mise en abyme; imaginary museum; Vilma Arêas; Um beijo por mês