The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?”
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Data de Publicação: | 2009 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Abril (Niterói) |
Texto Completo: | https://periodicos.uff.br/revistaabril/article/view/29806 |
Resumo: | This article proposes an articulation of theories on Baroque and Neo-Baroque, relating them to the aesthetic experiences of the Occidental culture and to the contemporary Portuguese novel. The reason of melancholy as a theme and as a procedure of writing is resumed, considering the saturnine meditation observed on Dürer’s print, Melancolia, understood by João Adolpo Hanses as the “allegory of the finite knowledge”, whose contemplation leads to the objects which resemble to the ruins. The Baroque worship of the ruins may be understood through the “significant fragment”, in other words, the fragment that, according to Walter Benjamin’s view, “is the noblest material of the Baroque creation”. This is the contemplation of the things to be investigated in the contemporaneity, based on António Lobo Antunes’s characters, emphasizing Paulo’s melancholy eye - a character from the novel Que farei quando tudo arde? - embedded in a familiar environment where he does not get identified with, aware of his fragility in face of life and tormented by the idea of death. |
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The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?”O olhar saturnino de António Lobo Antunes em “Que farei quando tudo arde?”Portuguese modern novelAntónio Lobo Antunesneobaroqueromance português contemporâneoAntónio Lobo AntunesneobarrocoThis article proposes an articulation of theories on Baroque and Neo-Baroque, relating them to the aesthetic experiences of the Occidental culture and to the contemporary Portuguese novel. The reason of melancholy as a theme and as a procedure of writing is resumed, considering the saturnine meditation observed on Dürer’s print, Melancolia, understood by João Adolpo Hanses as the “allegory of the finite knowledge”, whose contemplation leads to the objects which resemble to the ruins. The Baroque worship of the ruins may be understood through the “significant fragment”, in other words, the fragment that, according to Walter Benjamin’s view, “is the noblest material of the Baroque creation”. This is the contemplation of the things to be investigated in the contemporaneity, based on António Lobo Antunes’s characters, emphasizing Paulo’s melancholy eye - a character from the novel Que farei quando tudo arde? - embedded in a familiar environment where he does not get identified with, aware of his fragility in face of life and tormented by the idea of death.Este artigo propõe uma articulação de teorias sobre o barroco e o neobarroco, relacionando-as às experiências estéticas da cultura ocidental e ao romance português contemporâneo. O motivo da melancolia como tema e como procedimento de escrita é retomado, considerando-se a meditação saturnina observada na gravura de Dürer, Melancolia, entendida por João Adolpo Hansen como a “alegoria do conhecimento finito”, cuja contemplação se destina aos objetos que se assemelham às ruínas. O culto barroco das ruínas pode ser compreendido através do “fragmento significativo”, isto é, do estilhaço que, de acordo com a ótica benjaminiana, “é a matéria mais nobre da criação barroca”. É essa contemplação das coisas que se quer investigar na contemporaneidade, a partir das personagens de António Lobo Antunes, enfatizando o olhar melancólico de Paulo - personagem do romance Que farei quando tudo arde? –, imerso num ambiente familiar onde não se identifica, consciente da sua fragilidade diante da vida e atormentado com a idéia da morte.ABEC Brasil2009-11-19info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionPeer-reviewed ArticleArtigo avaliado por paresapplication/pdfhttps://periodicos.uff.br/revistaabril/article/view/2980610.22409/abriluff.v2i3.29806ABRIL – NEPA / UFF; Vol. 2 No. 3 (2009): (NEO)BARROQUE AESTHETICS AND THE CRISIS OF THE SUBJECT; 109-119Abril – NEPA / UFF; v. 2 n. 3 (2009): ESTÉTICA (NEO)BARROCA E CRISE DO SUJEITO; 109-1191984-209010.22409/abriluff.v2i3reponame:Abril (Niterói)instname:Universidade Federal Fluminense (UFF)instacron:UFFporhttps://periodicos.uff.br/revistaabril/article/view/29806/17347Copyright (c) 2018 Abril – NEPA / UFFinfo:eu-repo/semantics/openAccessCarvalho, Maria Cristina Chaves de2019-08-09T09:30:23Zoai:ojs.pkp.sfu.ca:article/29806Revistahttps://periodicos.uff.br/revistaabrilPUBhttps://periodicos.uff.br/revistaabril/oairevistaabril@vm.uff.br||nepa@vm.uff.br||uffnepa@gmail.com||idafalves@gmail.com1984-20901984-2090opendoar:2019-08-09T09:30:23Abril (Niterói) - Universidade Federal Fluminense (UFF)false |
dc.title.none.fl_str_mv |
The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?” O olhar saturnino de António Lobo Antunes em “Que farei quando tudo arde?” |
title |
The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?” |
spellingShingle |
The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?” Carvalho, Maria Cristina Chaves de Portuguese modern novel António Lobo Antunes neobaroque romance português contemporâneo António Lobo Antunes neobarroco |
title_short |
The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?” |
title_full |
The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?” |
title_fullStr |
The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?” |
title_full_unstemmed |
The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?” |
title_sort |
The saturnine look of António Lobo Antunes in “What can I do when everything is on fire?” |
author |
Carvalho, Maria Cristina Chaves de |
author_facet |
Carvalho, Maria Cristina Chaves de |
author_role |
author |
dc.contributor.author.fl_str_mv |
Carvalho, Maria Cristina Chaves de |
dc.subject.por.fl_str_mv |
Portuguese modern novel António Lobo Antunes neobaroque romance português contemporâneo António Lobo Antunes neobarroco |
topic |
Portuguese modern novel António Lobo Antunes neobaroque romance português contemporâneo António Lobo Antunes neobarroco |
description |
This article proposes an articulation of theories on Baroque and Neo-Baroque, relating them to the aesthetic experiences of the Occidental culture and to the contemporary Portuguese novel. The reason of melancholy as a theme and as a procedure of writing is resumed, considering the saturnine meditation observed on Dürer’s print, Melancolia, understood by João Adolpo Hanses as the “allegory of the finite knowledge”, whose contemplation leads to the objects which resemble to the ruins. The Baroque worship of the ruins may be understood through the “significant fragment”, in other words, the fragment that, according to Walter Benjamin’s view, “is the noblest material of the Baroque creation”. This is the contemplation of the things to be investigated in the contemporaneity, based on António Lobo Antunes’s characters, emphasizing Paulo’s melancholy eye - a character from the novel Que farei quando tudo arde? - embedded in a familiar environment where he does not get identified with, aware of his fragility in face of life and tormented by the idea of death. |
publishDate |
2009 |
dc.date.none.fl_str_mv |
2009-11-19 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article Artigo avaliado por pares |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.uff.br/revistaabril/article/view/29806 10.22409/abriluff.v2i3.29806 |
url |
https://periodicos.uff.br/revistaabril/article/view/29806 |
identifier_str_mv |
10.22409/abriluff.v2i3.29806 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.uff.br/revistaabril/article/view/29806/17347 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2018 Abril – NEPA / UFF info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2018 Abril – NEPA / UFF |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
ABEC Brasil |
publisher.none.fl_str_mv |
ABEC Brasil |
dc.source.none.fl_str_mv |
ABRIL – NEPA / UFF; Vol. 2 No. 3 (2009): (NEO)BARROQUE AESTHETICS AND THE CRISIS OF THE SUBJECT; 109-119 Abril – NEPA / UFF; v. 2 n. 3 (2009): ESTÉTICA (NEO)BARROCA E CRISE DO SUJEITO; 109-119 1984-2090 10.22409/abriluff.v2i3 reponame:Abril (Niterói) instname:Universidade Federal Fluminense (UFF) instacron:UFF |
instname_str |
Universidade Federal Fluminense (UFF) |
instacron_str |
UFF |
institution |
UFF |
reponame_str |
Abril (Niterói) |
collection |
Abril (Niterói) |
repository.name.fl_str_mv |
Abril (Niterói) - Universidade Federal Fluminense (UFF) |
repository.mail.fl_str_mv |
revistaabril@vm.uff.br||nepa@vm.uff.br||uffnepa@gmail.com||idafalves@gmail.com |
_version_ |
1799695308205064192 |