BAILANDO COM DEVIRES E RIZOMAS MEMORIALÍSTICOS NA OBRA ‘QUARTO DE DESPEJO’: CONFLUÊNCIAS FILOSÓFICAS, CORPÓREAS E ARTÍSTICAS

This article intends to dance-discuss the becomings and memorial rhizomes present in the work Quarto de despejo, by Carolina Maria de Jesus, correlating memories of her history and the author’s narrative literature. As in choreography, we intertwine the concepts of becoming and rhizome within the perspective of Deleuze and Guattari. In this perspective, the writer’s records-phases-moments-forces tend to converge, as a becoming-woman full of multiplicities, and that ends up generating subjective memories of someone who lived in a favela and managed to write-punctuate-record experiences that deal with the issue of the miserable reality that surrounded her. Thus, the written ‘dance’ of this text will be a dialogue with notes by Henri Bergson present in the work Matter and Memory; it will use brief bursts of Michel Pollak, which will be used in the perspectives of empirical indicators of memory, dealing with aspects of individual and collective memory. In this sphere, the thoughts of Maurice Halbwachs will be addressed, as he also points out that “our memories remain collective and are remembered by others”; and within another memorialistic rhizome, the text will dialogue with Augusto Sarmento-Pantoja who addresses the forms of memories and their nuances that can be identified in the work of Carolina Maria de Jesus.