Imagens arquetípicas na obra de Ernesto Sabato: um estudo comparado entre sua pintura e o romance O Túnel

Abstract

The Tunnel (1948), a novel by Argentine writer Ernesto Sabato (1911-2011), presents the confession of a passionate crime narrated by the murderer himself, the art painter Juan Pablo Castel, whose psychological profile allows us to perceive the construction of archetypal images in the literary text, manifested in the emotional imbalance of the character, in the idealization of the beloved woman and in exacerbated jealousy, characteristic of Othello's syndrome. The perception of these images from the novel to the author's paintings, allowed us to analyze the intersemiosis of the interartes. In this research approach, we investigated the intersemiotic relationship between the different semiotic systems, thus providing an opportunity for an analysis of the novel not yet explored at the Master's degree. This study is based on the perspective of Analytical Psychology applied to the methodology of Comparative Literature as an instrument of Literary Criticism, in the visionary sense of interpretation of the work, based on the archetypal image of the shadow as the guiding thread of the Sabato’s narrative. In this sense, the theoretical support comes from the studies of Campbell (1991, 2005), Jung (2002, 2008, 2015), Hillman (2018), Meletínski (1987, 2002), Von Franz (1990, 1996, 2002) and Zweig (2007). The analysis focuses on the dialogue between the novel and the following paintings by Sabato: Something that happened in my studio (1994), An elderly woman visits my studio (1985), Someone observes an absent painter's studio (1981) and Blind people meeting or talking (1991). The results showed the resignification of the archetypal shadows in the transposition of the literary text to the pictorial text, expressed in the excessive use of dark tones, in the expressionist and disturbing character of the characters and in the symbolism of death in the author's paintings. Thus, the intersemiotic process from the literary text of The Tunnel (1948) to the pictorial universe is configured as an extension of the author's narrative, revealing the archetypal symbology of images as a critical instrument in the interpretation of literary and visual languages.