Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves?
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Gragoatá |
Texto Completo: | https://periodicos.uff.br/gragoata/article/view/47650 |
Resumo: | Assuming that "history and art teach that revolt is usually born from mourning and spreads in a whirlwind that mixes personal and collective laments, the next and the distant, in an extraordinary collective emotion," Georges Didi-Huberman, philosopher and art historian, in the article "Waves, torrents and barricades," published in the Serrote Magazine edited by the Moreira Salles Institute, shows us how political uprisings or insurrections ("powers" or "waves"), in a gradual and imperceptible way, become capable of eroding a constituted power that was thought to be immovable ("dams" or "cliffs"). And this is exactly what we will find in Paisagem com mulher e mar ao fundo, a novel by Teolinda Gersão, one of the most renowned contemporary Portuguese writers, re-edited in 2019: the presence of a popular uprising, in a village by the sea, besieged by institutions and images of fascism, at the time of António de Oliveira Salazar's government. The novel in question, by metaphorically discussing the April 1974 Revolution, problematizes the concepts of dystopia and utopia, sets in motion "the circuit of affections, political bodies and helplessness," which, in the view of Vladimir Safatle, promotes "the end of the individual," circumscribing him as an agent of social transformation. |
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Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves?Paisagem com mulher e mar ao fundo: como esquecer os fluxos e refluxos das ondas?Assuming that "history and art teach that revolt is usually born from mourning and spreads in a whirlwind that mixes personal and collective laments, the next and the distant, in an extraordinary collective emotion," Georges Didi-Huberman, philosopher and art historian, in the article "Waves, torrents and barricades," published in the Serrote Magazine edited by the Moreira Salles Institute, shows us how political uprisings or insurrections ("powers" or "waves"), in a gradual and imperceptible way, become capable of eroding a constituted power that was thought to be immovable ("dams" or "cliffs"). And this is exactly what we will find in Paisagem com mulher e mar ao fundo, a novel by Teolinda Gersão, one of the most renowned contemporary Portuguese writers, re-edited in 2019: the presence of a popular uprising, in a village by the sea, besieged by institutions and images of fascism, at the time of António de Oliveira Salazar's government. The novel in question, by metaphorically discussing the April 1974 Revolution, problematizes the concepts of dystopia and utopia, sets in motion "the circuit of affections, political bodies and helplessness," which, in the view of Vladimir Safatle, promotes "the end of the individual," circumscribing him as an agent of social transformation.Partindo do princípio de que “a história e a arte ensinam que a revolta costuma nascer do luto e se propaga num turbilhão que mistura lamentos pessoais e coletivos, o próximo e o distante, numa extraordinária emoção coletiva”, Georges Didi-Huberman, filósofo e historiador da arte, no artigo “Ondas, torrentes e barricadas”, publicado na Revista Serrote do Instituto Moreira Salles, nos mostra como as sublevações ou insurreições políticas (“potências” ou “ondas”), de modo gradativo e imperceptível, tornam-se capazes de fazer erodir um poder constituído que se julgava inamovível (“barragens” ou “falésias”). E é exatamente isso que iremos encontrar em Paisagem com mulher e mar ao fundo, romance de Teolinda Gersão, uma das mais consagradas escritoras portuguesas contemporâneas, reeditado em 2019: a presença de uma revolta popular, em uma aldeia à beira-mar plantada, sitiada por Instituições e imagens-ícone do fascismo, na época do governo de António de Oliveira Salazar. O romance em questão, ao tematizar, metaforicamente, a Revolução de Abril de 1974, problematiza os conceitos de distopia e utopia, põe em cena “o circuito dos afetos, os corpos políticos e o desamparo”, o que, na ótica de Vladimir Safatle, promove “o fim do indivíduo”, circunscrevendo-o como um agente de transformação social.Universidade Federal Fluminense2021-05-01info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.uff.br/gragoata/article/view/4765010.22409/gragoata.v26i55.47650Gragoatá; Vol. 26 No. 55 (2021): Distopia na arte contemporânea: uma estética de resistência ou de submissão?; 820-840Gragoatá; v. 26 n. 55 (2021): Distopia na arte contemporânea: uma estética de resistência ou de submissão?; 820-8402358-41141413-907310.22409/gragoata.v26i55reponame:Gragoatáinstname:Universidade Federal Fluminense (UFF)instacron:UFFporhttps://periodicos.uff.br/gragoata/article/view/47650/29127Copyright (c) 2021 Gragoatáinfo:eu-repo/semantics/openAccessde Carvalho Faria, Ângela Beatriz2021-10-08T04:10:41Zoai:ojs.pkp.sfu.ca:article/47650Revistahttps://periodicos.uff.br/gragoataPUBhttps://periodicos.uff.br/gragoata/oai||revistagragoata@gmail.com2358-41141413-9073opendoar:2021-10-08T04:10:41Gragoatá - Universidade Federal Fluminense (UFF)false |
dc.title.none.fl_str_mv |
Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves? Paisagem com mulher e mar ao fundo: como esquecer os fluxos e refluxos das ondas? |
title |
Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves? |
spellingShingle |
Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves? de Carvalho Faria, Ângela Beatriz |
title_short |
Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves? |
title_full |
Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves? |
title_fullStr |
Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves? |
title_full_unstemmed |
Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves? |
title_sort |
Paisagem com Mulher e Mar ao Fundo: How to Forget the Flow and Backflow of Waves? |
author |
de Carvalho Faria, Ângela Beatriz |
author_facet |
de Carvalho Faria, Ângela Beatriz |
author_role |
author |
dc.contributor.author.fl_str_mv |
de Carvalho Faria, Ângela Beatriz |
description |
Assuming that "history and art teach that revolt is usually born from mourning and spreads in a whirlwind that mixes personal and collective laments, the next and the distant, in an extraordinary collective emotion," Georges Didi-Huberman, philosopher and art historian, in the article "Waves, torrents and barricades," published in the Serrote Magazine edited by the Moreira Salles Institute, shows us how political uprisings or insurrections ("powers" or "waves"), in a gradual and imperceptible way, become capable of eroding a constituted power that was thought to be immovable ("dams" or "cliffs"). And this is exactly what we will find in Paisagem com mulher e mar ao fundo, a novel by Teolinda Gersão, one of the most renowned contemporary Portuguese writers, re-edited in 2019: the presence of a popular uprising, in a village by the sea, besieged by institutions and images of fascism, at the time of António de Oliveira Salazar's government. The novel in question, by metaphorically discussing the April 1974 Revolution, problematizes the concepts of dystopia and utopia, sets in motion "the circuit of affections, political bodies and helplessness," which, in the view of Vladimir Safatle, promotes "the end of the individual," circumscribing him as an agent of social transformation. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-05-01 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.uff.br/gragoata/article/view/47650 10.22409/gragoata.v26i55.47650 |
url |
https://periodicos.uff.br/gragoata/article/view/47650 |
identifier_str_mv |
10.22409/gragoata.v26i55.47650 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.uff.br/gragoata/article/view/47650/29127 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2021 Gragoatá info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2021 Gragoatá |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal Fluminense |
publisher.none.fl_str_mv |
Universidade Federal Fluminense |
dc.source.none.fl_str_mv |
Gragoatá; Vol. 26 No. 55 (2021): Distopia na arte contemporânea: uma estética de resistência ou de submissão?; 820-840 Gragoatá; v. 26 n. 55 (2021): Distopia na arte contemporânea: uma estética de resistência ou de submissão?; 820-840 2358-4114 1413-9073 10.22409/gragoata.v26i55 reponame:Gragoatá instname:Universidade Federal Fluminense (UFF) instacron:UFF |
instname_str |
Universidade Federal Fluminense (UFF) |
instacron_str |
UFF |
institution |
UFF |
reponame_str |
Gragoatá |
collection |
Gragoatá |
repository.name.fl_str_mv |
Gragoatá - Universidade Federal Fluminense (UFF) |
repository.mail.fl_str_mv |
||revistagragoata@gmail.com |
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