Autor: júlia | Publicado: 2011-02-10T14:25:00-02:00

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“A escrita muda, num primeiro sentido, é a palavra que as coisas mudas carregam elas mesmas. É a potência de significação inscrita em seus corpos, e que resume o ‘tudo fala’ de Novalis, o poeta mineralogista. Tudo é rastro, vestígio ou fóssil. Toda forma sensível, desde a pedra ou a concha, é falante. Cada uma traz consigo, inscritas em estrias e volutas, as marcas de sua história e os signos de sua destinação. A escrita literária se estabelece, assim, como decifração e reescrita dos signos de história escritos nas coisas. É essa nova ideia de escrita que Balzac resume e exalta no início de A pele de onagro, nas páginas decisivas que descrevem a loja do antiquário, como emblema de uma nova mitologia, de um fantástico feito exclusivamente de acumulação das ruínas do consumo. O grande poeta dos novos tempos não é Byron, o repórter das desordens da alma. É Cuvier, o geólogo, o naturalista, que reconstitui populações animais a partir de ossos, e florestas a partir de impressões fossilizadas. Com ele, define-se uma nova ideia de artista. O artista é aquele que viaja nos labirintos ou nos subsolos do mundo social. Ele recolhe os vestígios e transcreve os hieróglifos pintados na configuração mesma das coisas obscuras ou triviais. Devolve aos detalhes insignificantes da prosa do mundo sua dupla potência poética e significante. Na topografia de um lugar ou na fisionomia de uma fachada, na forma ou no desgaste de uma vestimenta, no caos de uma exposição de mercadorias ou de detritos, ele reconhece os elementos de uma mitologia. E, nas figuras dessa mitologia, ele dá a conhecer a história verdadeira de uma sociedade, de um tempo, de uma coletividade; faz pressentir o destino de um indivíduo ou de um povo. Tudo fala, isso quer dizer também que as hierarquias da ordem representativa foram abolidas. A grande regra freudiana de que não existem “detalhes” desprezíveis, de que, ao contrário, são esses detalhes que nos colocam no caminho da verdade, se inscrevem na continuidade direta da revolução estética. Não existem temas nobres e temas vulgares, muito menos episódios narrativos importantes e episódios descritivos acessórios.” RANCIÈRE, Jacques. O inconsciente estético. p.35-36.