A "beleza livre" e a arte não-figurativa

This paper is an "interested" reading of "The Critique of Judgement" – "interested", because, unlike what has become usual in recent decades, it strives to disassociate the Kantian concept of "free beauty" from any interpretation of it as an early defense of abstract art. It is also "interested" because, instead of exposing (once more) the framework of the "Kritik der Urteilskraft", it tries to show how the Third Kantian Critique can be taken as a basis for something that was not part of its original purpose: reviewing the idea of mimesis itself. For that, the understanding of the Kantian sublime (das Erhabene) will be decisive: understood initially as one of the modalities of aesthetic experience, the other being beauty, the sublime progressively distances itself from the latter. If beauty and the sublime are to be thematized independently of "determining judgement", in which the properties of the object impose themselves upon the subject, the modalities of aesthetic experience suppose, on the contrary, the primacy of the subject. This implies gradations: from the experience of harmony propitiated by beauty up through the "negative pleasure" of the sublime, both poles through which reality is reworked by the subject. At the pole of beauty, "representation" of reality still plays a prominent role. At the pole of the "negative pleasure" of the sublime, "representation" is subordinated to the power of "presentation". However, both kinds of experience, the one of beauty and the other of the sublime, belong to the same field of aesthetic experience, because in both of them the subject reworks – does not discard – what comes to him from the outside: it will be necessary to understand "Vorstellung" always as an experience in which the exterior will be transformed by the subject. That is, the representation of the Third Critic will always be an effectual representation. In the sublime as much as in "free beauty", the metamophosis of the exterior by the subject achieves its maximum level without meaning that the external pole – that we usually call "world" or "reality" – disappears. It will thus be necessary to rethink the concept of mimesis in order to understand the metamorphosis of the world performed by radicalization of the aesthetic experience through "free beauty".Der Artikel unternimmt eine "interessierte" Interpretation der "Kritik der Urteilskraft". Interessiert, weil – gegen die dominante Tendenz der letzten Jahrzehnte – versucht wird, den Kantischen Begriff der freien Schönheit von der vorweggenommenen Verteidigung der abstrakten Kunst abzutrennen. Interessiert auch, weil – anstatt von Neuem den Aufbau der "KdU" nachzuzeichnen – gezeigt werden soll, dass die dritte Kritik etwas fundieren kann, was nicht so beabsichtigt war: eine Überprüfung der Mimesis. Hierzu ist das Verständnis des Kantischen Erhabenen entscheidend: ursprünglich eine Modalität der ästhetischen Erfahrung zu seinem Gegenstück, der Schönheit, entfernt sich das Erhabene in steigendem Maße von der letzteren. Wenn Schönheit und Erhabenes außerhalb des "bestimmenden Urteils" thematisiert werden, wo sich die Eigenschaften des Objekts dem Subjekt aufdrängen, setzen die Modalitäten der Erfahrung im Gegenteil den Primat des Subjekts voraus, sich steigernd von der durch die Schönheit vermittelten Erfahrung der Harmonie bis zur Erfahrung der negativen Lust am Erhabenen. Zwischen diesen Polen arbeitet das Subjekt die Realität durch. Am Pol der Schönheit spielt die "Vorstellung" der Realität noch eine herausragende Rolle. In der "negativen Lust" am Erhabenen ordnet sich die "Vorstellung" der Gewalt der "Darstellung" unter. Aber die zwei Arten der Erfahrung – des Schönen und des Erhabenen – gehören demselben Feld ästhetischer Erfahrung an, denn in beiden arbeitet das Subjekt das von außen Herantretende durch, anstatt es zu verwerfen. Mit anderen Worten, "Vorstellung" ist immer zu verstehen als eine Erfahrung, in der das Äußere vom Subjekt transformiert wird. D. h., die "Vorstellung" in der dritten Kritik ist immer eine wirkende Vorstellung. Sowohl im Erhabenen als auch in der "freien Schönheit", erreicht die vom Subjekt bewirkte Metamorphose des Äußeren ihre höchste Intensität, ohne dass der äußere Pol – was wir gewöhnlich die "Welt" oder "Realität" nennen – verschwände. Es ist daher nötig, den Begriff der Mimesis neu zu formulieren, um sich die Metamorphose der Welt klarzumachen, die durch die Radikalisierung der ästhetischen Erfahrung mittels der "freien Schönheit" bewirkt wird

Sobre Bandeira e Cabral

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A vida, um Fiapo

 Constata-se a insuficiência das categorias de realismo e documento para avaliar os dilemas de Graciliano Ramos relacionados à escrita. E verificam-se na fortuna crítica do autor, em vez de um bloco maciço convencional, vias contrárias à presença do realismo inconteste, que apontam para a inegável manobra ficcional do significado do ciúme de Paulo Honório e do silêncio que acompanha a vida e a morte de Baleia. Estes são os polos dentro dos quais a suposta unicidade do realismo de Graciliano é carcomida, o que permite apontar para o lugar particular de Graciliano Ramos no âmbito da tradição literária brasileira ligada ao regionalismo.&nbsp

O Não-Figurativo (Um Fragmento)

 O Não-Figurativo (Um Fragmento

Auerbach and literary history

Although the association between Auerbach's treatment of the notion of figura and Hegel's concept of Aufhehung is well known, it is only by looking at the figura outside of this connection, and in identifying what is unique to Auerbach's conception of it, that the role of figural interpretation in Auerbach's problematic relationship to the establishment of literary history may be appreciated. This offers Auerbach, as Costa Lima states, 'an alternative to the sort of factualistic history he had been trained in, as a philologist, and an operational principle that, together with the Stiltrennung, would allow him to write an inner history—not just an accidental and external one—of literature.' The second of three meditations on the work of Erich Auerbach included in this Special Issue – the others being “Erich Auerbach: History and Metahistory” (1988) and “Between Realism and Figuration: Auerbach's decentered realism” (2004) – here Costa Lima reconsiders the relationship between the figura and mimesis conceived as the production of difference

Não, a Terra não é Redonda

 Não, a Terra não é Redond

O Pensar como Abismo

 O Pensar como Abism

Oswaldo Martins: o vazio positivo

Na poesia de Oswaldo Martins, a afirmação do vazio não se confunde com a transparência negativa do vazio pleno, anterior à configuração da forma, mas declara a incompletude do que passa a existir na espessura da escrita que o formula. Desfazendo a linguagem congestionada em favor da invenção poética, a formulação positiva do vazio é impulsionada, ademais, pela recusa do ornamental. Na medida em que a palavra edulcorada cede espaço ao que provoca asco e arrisca ser rejeitada pelo leitor, a precipitação formal do recalcado, realçada pela repugnância que provoca a tematização da merda, e a criticidade que lateja na subversão do erótico presentificam a agressividade do que é omitido pelo louvor da beleza e pela nobilitação métrica da temática amorosa. Prova da força alcançada pelo recurso formal do autor, a exploração de contrastes não se restringe à violação dos hábitos linguísticos do leitor, senão que funciona como mecanismo de precisão, aperfeiçoado de poema em poema, para cumprir o avesso da ausência, que não suscita a espera por seu preenchimento. É o que explica a surpresa produzida diante de certos poemas em que, apesar de mínimos, seus componentes dão a impressão de serem muitos. 

A insistência da imitação

Luiz Costa Lima discute seus equívocos na interpretação de Graciliano Ramos e Carlos Drummond de Andrad