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Resumo : A Historia da literatura, assim como todo e qualquer registro historiografico, a partir de vertentes que puseram em xeque o discurso historico, encontra-se, hoje, problematizada. Revelou-se nada menos do que a necessidade de fala daqueles foram deixados a margem do eixo hegemonico e que sofrem ate nossos tempos uma insuficiencia representacional, mantendo essas vozes literarias em um estado de subalternidade: um nao lugar nas narrativas oficiais. Por isso, diferente da historiografia tradicional, incumbida de selecionar obras e autores considerados dignos e representantes das letras de uma nacao, a historia literaria contemporânea busca um carater plurivocal, nos obrigando a uma reconsideracao daquilo que temos como cânone. No entanto, cabe-nos perguntar, se e possivel hoje, mesmo consciente de todas as armadilhas deste discurso historiografico, nao se criar, na tentativa de se “preencher” as lacunas de uma historia literaria posta como verdade, outro discurso semelhante. Ou melhor: como abordar um sistema literario e nao repetir a forma tradicional, que consiste na selecao arbitraria de determinados autores e exclusao de outros, criando, assim, novos cânones e deixando os demais, novamente, a margem? Sera que todo o problema da historiografia literaria esta, necessariamente, nela, ou seria seu receptor tambem culpado por determinadas questoes, que estariam ligadas a uma nao percepcao de uma visivel consciencia historiografica, que sempre apontou, nos mais celebres registros, a impossibilidade de uma abordagem totalitaria e perfeita? Palavras-chave : Historia da Literatura e recepcao; historiografia literaria; consciencia historiografica. Abstract : History of literature, like any historiographical record, due to the trends questioning the historical discourse, is now problematized. It has been revealed the necessity to give a voice to those who have been left on the fringe of the hegemonic axis and which have suffered, up to now, from a representational insufficiency, keeping these voices in a state of subalternity: a non-place in the official narratives. Thus, unlike the traditional historiography, in charge of the selection of works and authors considered worthy and representative of the letters of a nation, contemporary literary history seeks a plurivocal character, requiring a reconsideration of what one has as a canon. However, one should ask: is it possible today, even aware of all the traps of this historiographical discourse, not to create, in the attempt to “fill in” the gaps of a literary history imposed as a truth, another similar discourse? Or better: how can one approach a literary system without repeating the traditional form, which consists of an arbitrary selection of some authors and the exclusion of others, thus creating new canons and leaving the others, again, on the fringe? Is the problem of literary historiography necessarily in it, or is its receptor, who reads, understands, interprets and appropriates a given text, as shown by Paul Ricoeur or Chartier, giving it meaning also to blame for some issues, which would be associated to a non-perception of a visible historiographical awareness, which has always pointed, in the most eminent records, to the impossibility of an absolute and perfect approach? Keywords : History of literature and reception; literary historiography; historiographical awareness.

História da literatura e consciência historiográfica: um diálogo entre a escrita e a recepção