Um grito para o céu: arte e pensamento em Crônica da casa assassinada

• Autor(a) principal: RICARTE, Patrícia Chanely Silva
• Data de Publicação: 2007
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• dARK ID: ark:/38995/0013000008wrb
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tde/2372
• topic: Lúcio Cardoso; Crônica da casa assassinada; arte; pensamento; 1.Lúcio Cardoso 2.Crônica da casa assassinada 3.Arte 4.Pensamento Teoria e crítica; Lúcio Cardoso; Chronicle home murdered, art, thought; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS

In this thesis we analyze the fictional images of the idea of art that may be deduced from Lúcio Cardoso s Crônica da casa assassinada (The murdered house chronicle). Taking Nina s (the protagonist) constitution in the main narratives of the book as the starting point, we attempt to establish a sort of analogy between the artistic and the philosophical thoughts about art in order to propose a reflection on the relationships between two kinds of knowledge. Therefore, starting from a perspective in which Nina consists of the literary image of the philosophical idea of art, in the first chapter, a comparative study between the conjectures surrounding this character is undertaken through four narrators in the novel (Timóteo, Betty, Ana and André) and the views of four philosophers about the work of art (Plato, Kant, Nietzsche and Heidegger). Throughout this study, we have focused on the relationship between beauty and truth, which is the main aspect of the philosophical discussion on art, and is also, from our perspective, symbolized by Nina in Crônica da casa assassinada. In the second chapter we discuss the question of art s death decreed by Hegel, so that we attempt to reveal the relationship between such questions and Lúcio Cardoso s concept of the tragic in his most important novel. Based on the philosophical and anthropological view of the tragic, and taking important authors such as Werner Jaeger, Albin Lesky, Gerd Bornheim and Emil Staiger s points of view, we have studied the discourses on death which are brought up in Crônica da casa assassinada in order to verify the perspectives of each one of the narrators that were studied related to the question of transcendence, here considered in his deep linkage to the religious basis of art. In the third chapter we attempt to defend the notion of art as a project which, from our perspective, encompasses the widest sense of Lúcio Cardoso s work. Considered from an existentialist point of view with a sartrean and heideggerian basis, the project consists in the possibility of the author s self-excelling in the sense that he reveals his personal truth through a fragmented and multifaceted thinking developed as a novel and, at the same time, constructs a new idea of man, having to revitalize or even threaten the so dear in his highly Christian view existence of God in order to reach such aim.