Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária

Detalhes bibliográficos
Autor(a) principal: Lima, Marcus Vinícius Lessa de
Data de Publicação: 2021
Tipo de documento: Dissertação
Idioma: por
Título da fonte: Repositório Institucional da UFU
Texto Completo: https://repositorio.ufu.br/handle/123456789/32507
http://doi.org/10.14393/ufu.di.2021.5531
Resumo: The accumulation of texts is constant throughout the life of readers (“reading lives”). We stack our heaps of postponed reading material based on the circumstances under which we discover new texts, and based also on the paths we tread before abandoning them to our future efforts. A foreword on the theme aims at random encounters that reshape reader’s text heaps. Here, the readers are represented at first by narrators and characters inhabiting Jorge Luis Borges’ fiction works. Alongside is Zenobia, one among the stages on the Invisible Cities by Italo Calvino. This city is described by the narrator Marco Polo in a way that could match an excellent metaphorical model of the somewhat disorderly paths that the readers travel. From there on, two books will provide substance for further thoughts on the event of reading: Marília Garcia’s Parque das ruínas and Rui Pires Cabral’s Manual do condutor de máquinas sombrias. Reading will appear as a sort of unrepeatable and inexpressible personal situation, but even then charged of meaning beforehand. Once the act of reading meets its end, that is, once the present of reading is exhausted, it tends to an interpretation that will be negotiated collectively. For those two books one valid question is: at what extension a meta-poetical interpretation bases itself on the degree poetry is turned into a theme with considerable evidence? That’s the case of Parque das ruínas. Still the readers might intervene and be capable of accomplishing a similar interpretation another way, in the form of a very particular and thoughtful effort: it’s a possible scenario for Rui Pires Cabral’s book. After that, an approach more attentive to empirical readers will ponder on ways of relating literary readership and those types of writing that discuss literature. For the habitual reader of literary works, would it be possible that, on the instance of writing, the research on literature rely on the same creative resources of its own object? If so, how could that take place? Does literature and the texts that discuss it (criticism, cultural journalism, publicity) maintain “at stack” the criteria that organize their very own arrangement? If so, are they capable of dilating the range of reader’s interpretations as well? What does it mean to consider the reader as a coauthor of the literary text? Is there a thing of risk, maybe even of impending danger, in the activity of reading literature? Towards what type of truth (or inciting to search for it) the literary works may impel their readers? While trying some answers, criticism meets the essay and practices diverse approaches of incorporating literary resources into the varieties of critical commentary. In addition to those authors already mentioned, the essay encounters many other poets and fiction writers, such as Ida Vitale, Vergílio Ferreira, Leonardo Fróes, Ruy Proença, Maria Gabriela Llansol, Alberto Pimenta, Hayan Charara, Ricardo Aleixo, Alejandra Pizarnik, Ricardo Piglia, John Keats and William Butler Yeats, as well as two film directors, Joris Ivens and Marceline Loridan-Ivens. Encounters, moreover, ideas presented by Joana Matos Frias, Roland Barthes, Jean-Luc Nancy, Jorge Larrosa, Silvina Rodrigues Lopes, Marcos Siscar, Eneida Maria de Souza, Leyla Perrone-Moisés, Guilherme Gontijo Flores, Alexandre Nodari, Johan Huizinga, Jacques Rancière, Paul Zumthor, Victor Chklóvski, Hans Robert Jauss, Wolfgang Iser, Umberto Eco, Samuel Taylor Coleridge, Francis Ponge, among others. The main idea defended, predictable since the very title of the essay, consists in that the reading of literary works produces some sort of sensitive truth, hence contingent and impossible to share with others in its wholeness. The principal outcome of considering so is the need of raising the question of what goals literary criticism can set to itself and under what figure should its writings be presented to the public.
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spelling Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literáriaA merely sensitive truth: an essay on the modesty of literary criticismUna verdad meramente sensible: ensayo sobre la modestia de la crítica literariaLeituraReadingVidas leitorasReading livesVerdade sensívelSensitive truthEnsaioEssayCrítica literáriaLiterary criticismLiteraturaLiteratureCNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIALiteraturaThe accumulation of texts is constant throughout the life of readers (“reading lives”). We stack our heaps of postponed reading material based on the circumstances under which we discover new texts, and based also on the paths we tread before abandoning them to our future efforts. A foreword on the theme aims at random encounters that reshape reader’s text heaps. Here, the readers are represented at first by narrators and characters inhabiting Jorge Luis Borges’ fiction works. Alongside is Zenobia, one among the stages on the Invisible Cities by Italo Calvino. This city is described by the narrator Marco Polo in a way that could match an excellent metaphorical model of the somewhat disorderly paths that the readers travel. From there on, two books will provide substance for further thoughts on the event of reading: Marília Garcia’s Parque das ruínas and Rui Pires Cabral’s Manual do condutor de máquinas sombrias. Reading will appear as a sort of unrepeatable and inexpressible personal situation, but even then charged of meaning beforehand. Once the act of reading meets its end, that is, once the present of reading is exhausted, it tends to an interpretation that will be negotiated collectively. For those two books one valid question is: at what extension a meta-poetical interpretation bases itself on the degree poetry is turned into a theme with considerable evidence? That’s the case of Parque das ruínas. Still the readers might intervene and be capable of accomplishing a similar interpretation another way, in the form of a very particular and thoughtful effort: it’s a possible scenario for Rui Pires Cabral’s book. After that, an approach more attentive to empirical readers will ponder on ways of relating literary readership and those types of writing that discuss literature. For the habitual reader of literary works, would it be possible that, on the instance of writing, the research on literature rely on the same creative resources of its own object? If so, how could that take place? Does literature and the texts that discuss it (criticism, cultural journalism, publicity) maintain “at stack” the criteria that organize their very own arrangement? If so, are they capable of dilating the range of reader’s interpretations as well? What does it mean to consider the reader as a coauthor of the literary text? Is there a thing of risk, maybe even of impending danger, in the activity of reading literature? Towards what type of truth (or inciting to search for it) the literary works may impel their readers? While trying some answers, criticism meets the essay and practices diverse approaches of incorporating literary resources into the varieties of critical commentary. In addition to those authors already mentioned, the essay encounters many other poets and fiction writers, such as Ida Vitale, Vergílio Ferreira, Leonardo Fróes, Ruy Proença, Maria Gabriela Llansol, Alberto Pimenta, Hayan Charara, Ricardo Aleixo, Alejandra Pizarnik, Ricardo Piglia, John Keats and William Butler Yeats, as well as two film directors, Joris Ivens and Marceline Loridan-Ivens. Encounters, moreover, ideas presented by Joana Matos Frias, Roland Barthes, Jean-Luc Nancy, Jorge Larrosa, Silvina Rodrigues Lopes, Marcos Siscar, Eneida Maria de Souza, Leyla Perrone-Moisés, Guilherme Gontijo Flores, Alexandre Nodari, Johan Huizinga, Jacques Rancière, Paul Zumthor, Victor Chklóvski, Hans Robert Jauss, Wolfgang Iser, Umberto Eco, Samuel Taylor Coleridge, Francis Ponge, among others. The main idea defended, predictable since the very title of the essay, consists in that the reading of literary works produces some sort of sensitive truth, hence contingent and impossible to share with others in its wholeness. The principal outcome of considering so is the need of raising the question of what goals literary criticism can set to itself and under what figure should its writings be presented to the public.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorDissertação (Mestrado)O acúmulo de textos é uma constante ao longo das vidas leitoras. Formamos nossas pilhas de leituras adiadas a partir das circunstâncias de nosso encontro com novos textos e do trajeto que percorremos até abandoná-los para exploração futura. Uma primeira aproximação ao tema se baseia nos acasos que reorganizam as pilhas de textos dos leitores, representados aqui, inicialmente, por narradores e personagens da ficção de Jorge Luis Borges. Junto a eles aparece Zenóbia, um dos cenários ficcionais n’As cidades invisíveis de Italo Calvino. A descrição dessa cidade pelo narrador de Calvino, Marco Polo, é capaz de oferecer um excelente modelo metafórico dos caminhos algo desordenados que uma vida leitora percorre. Daí em diante, dois livros darão lastro para um pensamento sobre o evento da leitura: o Parque das ruínas, de Marília Garcia, e o Manual do condutor de máquinas sombrias, de Rui Pires Cabral. A leitura é tratada como situação irrepetível e indizivelmente pessoal, mas já carregada de sentidos prefigurados. Uma vez que o ato de ler chegue ao fim, isto é, uma vez que o presente da leitura se esgote, ela tende à negociação coletiva da interpretação. Para aqueles dois livros, uma pergunta a se fazer é: o quanto uma interpretação metapoética se apoia no grau de explicitude com que a poesia se torna tema? É o caso do Parque das ruínas. Mas nem por isso a intervenção leitora se torna incapaz de alcançar resultados similares, de outra forma, por meio duma formulação interpretativa refletida e particular: é um caso possível para o Manual de Rui Pires Cabral. A partir daí, com uma atenção maior depositada na figura do leitor empírico, o olhar recai sobre os modos de relação entre a leitura literária e a escrita que se faz a respeito da literatura. É possível que a redação de uma pesquisa voltada à literatura, levada a cabo por alguém que é seu leitor habitual, se aproxime do texto literário em termos de recursos criativos? Se sim, de que modo fazê-lo? A literatura e os textos que tratam dela (críticos, jornalísticos, publicitários) mantêm “em jogo” os critérios que norteiam a eles próprios? Caso afirmativo, são capazes de dilatar também o alcance das interpretações feitas por seus leitores? O que significa considerar o leitor um coautor do texto literário que lê? Existe algo de arriscado, talvez até mesmo um perigo iminente, na atividade de ler literatura? Que tipo de verdade, ou de incitação a buscá-la os textos literários podem desdobrar a seus leitores? Ao testar respostas, a escrita crítica encontra a escrita ensaística, exercitando diversos modos de incorporação dos recursos literários e das variedades de comentário sobre os textos. Além dos autores já citados, o ensaio passa por diversos poetas e ficcionistas, como Ida Vitale, Vergílio Ferreira, Leonardo Fróes, Ruy Proença, Maria Gabriela Llansol, Alberto Pimenta, Hayan Charara, Ricardo Aleixo, Alejandra Pizarnik, Ricardo Piglia, John Keats e William Butler Yeats, além dos cineastas Joris Ivens e Marceline Loridan-Ivens. Se encontra também com ideias apresentadas por Joana Matos Frias, Roland Barthes, Jean-Luc Nancy, Jorge Larrosa, Silvina Rodrigues Lopes, Marcos Siscar, Eneida Maria de Souza, Leyla Perrone-Moisés, Guilherme Gontijo Flores, Alexandre Nodari, Johan Huizinga, Jacques Rancière, Paul Zumthor, Victor Chklóvski, Hans Robert Jauss, Wolfgang Iser, Umberto Eco, Samuel Taylor Coleridge, Francis Ponge, dentre outros. Previsível desde o título, a ideia principal deste ensaio é que a leitura literária produz uma verdade sensível, portanto contingencial e não compartilhável em sua totalidade. Pensá-la traz como consequência levantar a questão dos objetivos da crítica literária e do modo como ela apresenta seus textos ao público leitor.Universidade Federal de UberlândiaBrasilPrograma de Pós-graduação em Estudos LiteráriosGama-Khalil, Marisa Martinshttp://lattes.cnpq.br/9430138689219946Fernandes Júnior, Antôniohttp://lattes.cnpq.br/9030434824436730Soares, Leonardo Franciscohttp://lattes.cnpq.br/8507310300864306Lima, Marcus Vinícius Lessa de2021-07-22T19:04:06Z2021-07-22T19:04:06Z2021-05-31info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfLIMA, Marcus Vinícius Lessa de. Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária. 2021. 273 f. Dissertação (Mestrado em Estudos Literários) - Universidade Federal de Uberlândia, Uberlândia, 2021. DOI http://doi.org/10.14393/ufu.di.2021.5531.https://repositorio.ufu.br/handle/123456789/32507http://doi.org/10.14393/ufu.di.2021.5531porhttp://creativecommons.org/licenses/by-nc-nd/3.0/us/info:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFUinstname:Universidade Federal de Uberlândia (UFU)instacron:UFU2021-07-23T06:19:34Zoai:repositorio.ufu.br:123456789/32507Repositório InstitucionalONGhttp://repositorio.ufu.br/oai/requestdiinf@dirbi.ufu.bropendoar:2021-07-23T06:19:34Repositório Institucional da UFU - Universidade Federal de Uberlândia (UFU)false
dc.title.none.fl_str_mv Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária
A merely sensitive truth: an essay on the modesty of literary criticism
Una verdad meramente sensible: ensayo sobre la modestia de la crítica literaria
title Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária
spellingShingle Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária
Lima, Marcus Vinícius Lessa de
Leitura
Reading
Vidas leitoras
Reading lives
Verdade sensível
Sensitive truth
Ensaio
Essay
Crítica literária
Literary criticism
Literatura
Literature
CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA
Literatura
title_short Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária
title_full Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária
title_fullStr Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária
title_full_unstemmed Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária
title_sort Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária
author Lima, Marcus Vinícius Lessa de
author_facet Lima, Marcus Vinícius Lessa de
author_role author
dc.contributor.none.fl_str_mv Gama-Khalil, Marisa Martins
http://lattes.cnpq.br/9430138689219946
Fernandes Júnior, Antônio
http://lattes.cnpq.br/9030434824436730
Soares, Leonardo Francisco
http://lattes.cnpq.br/8507310300864306
dc.contributor.author.fl_str_mv Lima, Marcus Vinícius Lessa de
dc.subject.por.fl_str_mv Leitura
Reading
Vidas leitoras
Reading lives
Verdade sensível
Sensitive truth
Ensaio
Essay
Crítica literária
Literary criticism
Literatura
Literature
CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA
Literatura
topic Leitura
Reading
Vidas leitoras
Reading lives
Verdade sensível
Sensitive truth
Ensaio
Essay
Crítica literária
Literary criticism
Literatura
Literature
CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::TEORIA LITERARIA
Literatura
description The accumulation of texts is constant throughout the life of readers (“reading lives”). We stack our heaps of postponed reading material based on the circumstances under which we discover new texts, and based also on the paths we tread before abandoning them to our future efforts. A foreword on the theme aims at random encounters that reshape reader’s text heaps. Here, the readers are represented at first by narrators and characters inhabiting Jorge Luis Borges’ fiction works. Alongside is Zenobia, one among the stages on the Invisible Cities by Italo Calvino. This city is described by the narrator Marco Polo in a way that could match an excellent metaphorical model of the somewhat disorderly paths that the readers travel. From there on, two books will provide substance for further thoughts on the event of reading: Marília Garcia’s Parque das ruínas and Rui Pires Cabral’s Manual do condutor de máquinas sombrias. Reading will appear as a sort of unrepeatable and inexpressible personal situation, but even then charged of meaning beforehand. Once the act of reading meets its end, that is, once the present of reading is exhausted, it tends to an interpretation that will be negotiated collectively. For those two books one valid question is: at what extension a meta-poetical interpretation bases itself on the degree poetry is turned into a theme with considerable evidence? That’s the case of Parque das ruínas. Still the readers might intervene and be capable of accomplishing a similar interpretation another way, in the form of a very particular and thoughtful effort: it’s a possible scenario for Rui Pires Cabral’s book. After that, an approach more attentive to empirical readers will ponder on ways of relating literary readership and those types of writing that discuss literature. For the habitual reader of literary works, would it be possible that, on the instance of writing, the research on literature rely on the same creative resources of its own object? If so, how could that take place? Does literature and the texts that discuss it (criticism, cultural journalism, publicity) maintain “at stack” the criteria that organize their very own arrangement? If so, are they capable of dilating the range of reader’s interpretations as well? What does it mean to consider the reader as a coauthor of the literary text? Is there a thing of risk, maybe even of impending danger, in the activity of reading literature? Towards what type of truth (or inciting to search for it) the literary works may impel their readers? While trying some answers, criticism meets the essay and practices diverse approaches of incorporating literary resources into the varieties of critical commentary. In addition to those authors already mentioned, the essay encounters many other poets and fiction writers, such as Ida Vitale, Vergílio Ferreira, Leonardo Fróes, Ruy Proença, Maria Gabriela Llansol, Alberto Pimenta, Hayan Charara, Ricardo Aleixo, Alejandra Pizarnik, Ricardo Piglia, John Keats and William Butler Yeats, as well as two film directors, Joris Ivens and Marceline Loridan-Ivens. Encounters, moreover, ideas presented by Joana Matos Frias, Roland Barthes, Jean-Luc Nancy, Jorge Larrosa, Silvina Rodrigues Lopes, Marcos Siscar, Eneida Maria de Souza, Leyla Perrone-Moisés, Guilherme Gontijo Flores, Alexandre Nodari, Johan Huizinga, Jacques Rancière, Paul Zumthor, Victor Chklóvski, Hans Robert Jauss, Wolfgang Iser, Umberto Eco, Samuel Taylor Coleridge, Francis Ponge, among others. The main idea defended, predictable since the very title of the essay, consists in that the reading of literary works produces some sort of sensitive truth, hence contingent and impossible to share with others in its wholeness. The principal outcome of considering so is the need of raising the question of what goals literary criticism can set to itself and under what figure should its writings be presented to the public.
publishDate 2021
dc.date.none.fl_str_mv 2021-07-22T19:04:06Z
2021-07-22T19:04:06Z
2021-05-31
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dc.identifier.uri.fl_str_mv LIMA, Marcus Vinícius Lessa de. Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária. 2021. 273 f. Dissertação (Mestrado em Estudos Literários) - Universidade Federal de Uberlândia, Uberlândia, 2021. DOI http://doi.org/10.14393/ufu.di.2021.5531.
https://repositorio.ufu.br/handle/123456789/32507
http://doi.org/10.14393/ufu.di.2021.5531
identifier_str_mv LIMA, Marcus Vinícius Lessa de. Uma verdade meramente sensível: ensaio sobre a modéstia da crítica literária. 2021. 273 f. Dissertação (Mestrado em Estudos Literários) - Universidade Federal de Uberlândia, Uberlândia, 2021. DOI http://doi.org/10.14393/ufu.di.2021.5531.
url https://repositorio.ufu.br/handle/123456789/32507
http://doi.org/10.14393/ufu.di.2021.5531
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Brasil
Programa de Pós-graduação em Estudos Literários
publisher.none.fl_str_mv Universidade Federal de Uberlândia
Brasil
Programa de Pós-graduação em Estudos Literários
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