As múltiplas faces da sereia: maquiagem e construção da personagem em Uma aprendizagem ou o livro dos prazeres, de Clarice Lispector

Abstract

The Make-up is conceived as a practice that acts on the body from an aesthetic perspective marked by the creation and manipulation of the image of the “self.” Based on this. I have constructed this text by analyzing the composition of the female protagonist, Lóri, from Clarice Lispector's novel An Apprenticeship or the Book of Pleasures (2020), published in 1969, through the relationship between make-up and literature. Furthermore, a brief study was conducted bringing the filmic narrative universe into the research scenario, in which the literary work served as inspiration for the feature film “Livro dos Prazeres,” directed by Marcela Lordy, in 2020. This research aims to reflect on how make-up is associated with the composition and transformation of the central character and her learning process in search for the "self" through an "other". Such analysis intends to contribute directly not only to studies on the work of Clarice Lispector, a central name in Brazilian literature and one of the renovators of the Brazilian novel, but also presenting to the academic community another provocative and unusual way of reading Lispector. In several books, Lispector uses make-up when characterizing her characters; however, in the novel under analysis, the protagonist Lóri is shown putting on make-up, in several sections, and commenting on it, treating it as a kind of mask. This metaphorical enhance the act of putting on make-up and associate it with the character's transformation: the way she sees herself and how she wants to be seen by the others she lives with, especially in shared spaces – in the public space. The study has as its theoretical methodological the author's biography (Gotlib, 2013; Nunes, 1989; franco Junior, 2007); also, theorists who focus on beauty and beauty (ECO, 2004); and texts that cover themes about the mask and theater (GASSET, 2007; BERTHOLD, 2003; SAMPAIO, 2012), in dialogue with others that deal with the history of make up (TORQUATTO, 2011; LOPES, 2009; TREVISAN, 2011).