Representations of the process of subjectivity and transversal spaces are perceived and analyzed in Raduan Nassar's Um copo de cólera. Among traces of madness, obtained by an updating of the image of The ship of fools in the conflict between pastoral bucolism and the emergency of urban productivity, the study proceeds to the territorialized and deterritorialized production of faciality that reveal openings to possibilities of new emotional, cultural and political pacts in which the meaning of madness moves to less essentialist and more historical realities.
Um copo de cólera; bodies; ship of fools; process of subjectivities