Walter Benjamin was one of the philosophers who most appropriately discussed the dialectics of history as a movement of extremes, that is, as an impoverished present experience before the glories of the past, which conceals, ironically, another formulation, exposed in the 9th thesis “On the concept of history”: which presents the interpretation of the allegory (ex)put in The Angelus Novus, by Paul Klee, as the “hippocratic facies of history” (Benjamin 1984), thinking this image as “the core of allegorical vision” (ibidem). Manoel de Barros, in his time, dialogues with both Klee and Benjamin, in a movement of (ex)position of episodic scenes/fragments of a nature always in a state of violence, suffering, tedium and death, despite an appearance of exuberance and abundance. In this essay, we propose to discuss/read in Barros’ poetry these poetic-allegorical constructions of nature, especially in the light of The Origin of German Tragic Drama and the thesis IX of Theses on the Philosophy of History by Walter Benjamin (1984 and 1986, respectively), as well as texts by Jeanne Marie Gagnebin (2013) and Michel Löwy (2005) on allegory in the Benjamin’s perspective.
Resumo O historiador e crítico de arte francês Georges Didi-Huberman tem um vasto e profundo percurso teórico dedicado a examinar o papel das imagens na legibilidade da história. Em vários de seus ensaios dedicou-se a pensar os problemas em torno da representação da Shoah e os modos com que as imagens relativas a esse evento-limite adensam os sentidos daquilo que se mostra. Nosso objetivo é propor uma leitura do conto “Helga”, de Lygia Fagundes Telles, à luz do conceito de imagem depreendida por Didi-Huberman em textos dedicados à experiência da Shoah. Nosso foco recai, sobretudo, na centralidade do corpo no conto de Lygia Fagundes como uma imagem-sintoma, a qual confere peso de significado à narrativa pelo que falta, por aquilo que foi mutilado.
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