Placenta: the dimension of the words. Clarice Lispector’s meaning of it and her instant-now-halleluja

Abstract

The article discusses the linguistic abstraction in Lispector’s Água Viva, according to European semiotics. It is based on the author's strategy of inserting, in the enunciation-enunciated, the marks of a creative process that resulted in a continuous reading grid, without divisions in chapters. A simulacrum of enunciation being enunciated. The author does this by writing by sketching: creating a more opened meaning effects to interpretations, surrounding them by denying the shared crystallization erected by the dictionary’s tradition - that relegates words to closure. In the book, the fundamental semantic opposition between life and death ceases to exist. Both are merged into a single object with status of subject - which takes the actor of enunciation in a metaphor of the new signification of the words. The narrative is interested in what is described as it, which is not ontological and cannot be named. In this paper, Lispector’s book is taken as a rich source of semiotic reflection on a general and abstract project that guarantees to the language the possibilities of semantic overcoming of any limits, showing the strength of syntagmatic constructions of discourse in the course of signification in which affection is underlying the categorization of the lexeme.