■ RESUMO: Pretende-se explorar alguns aspectos da obra de Franz Kafka que vinculam as experiências do escritor às experiências do homem das grandes cidades modernas, e, por outro lado, colocam essas mesmas experiências "sob violenta tensão em relação às místicas". Alguns elementos da obra de Kafka, como a impessoalidade, o anonimato, os inúmeros corredores ou repartições sufocantes, representam um diagnóstico, tido muitas vezes como sombrio, mas essencialmente crítico da modernidade. A partir da parábola Diante da Lei, inserida no romance O Processo e contada ao protagonista como uma forma de ligar sua experiência à tradição, procurar-se-á discutir tanto o papel da crítica à modernidade como o papel desempenhado pela tradição (a teologia judaica), além das noções de culpa e lei, natural e sobrenatural.■ PALAVRAS-CHAVE: Walter Benjamin; Franz Kafka; Lei; Natureza; Culpa.O ponto de partida de nossas reflexões aqui é a obra de Franz Kafka, principalmente O Processo, e o ensaio de Walter Benjamin sobre o escritor tcheco, intitulado Franz Kafka, A propósito do décimo aniversário de sua morte. Neste ensaio Benjamin refere-se à presença da parábola "Diante da Lei" (Vor dem Gesetz) em O processo que, segundo ele, apresenta-se nebulosa ao leitor que a encontra em Um Médico Rural (Kafka, 1999); no romance, no entanto, Kafka apresenta, no diálogo entre o sacerdote e Joseph K, inúmeras reflexões de tal modo que "poderíamos suspeitar que o romance não é mais que o desdobramento da parábola" (Benjamin, 1985, p.147).
Northeastern Brazil has thousands of wetland fossiliferous deposits with megafauna and, in some cases, associated lithic artifacts. The timing of the arrival of humans in South America and the extinction of megafauna is still debated and these sites contribute both to this discussion and to the reconstruction of the Late Pleistocene and Holocene paleoenvironment. Lagoa do Quari, 40 km south of São Raimundo Nonato, Piauí state, is a marsh deposit in the present semiarid caatinga environment, excavated by an interdisciplinary team in 2002–2003. This paper presents the archaeological, palaeontological, geological, chronological, stratigraphical and palynological results and their implications for the Quaternary of northeastern Brazil. The site has a rich megafaunal bonebed at the bottom, dominated by Eremotherium giant sloth remains with poor biodiversity, and a sandy‐silty deposit at the top; two 14C dates constrain this latter layer to 9,944–9,557 and 6,308–6,177 cal. years BP and the associated rich lithic industry of quartz and chert shows a technical continuity throughout the Holocene in the region. Palynology describes an open landscape with periodic wet phases, which could explain the richness of the archaeological occurrences in Holocenic Brazilian prehistory. This study offers a model of interdisciplinary enquiry into the paleoenvironment and prehistory of lowland South America.
O artigo trata de várias questões relacionadas à relação entre a estética e a comunicação em tempos de globalização. Crítica a globalização como privatização do mundo, coloca a importância das culturas locais e da linguagem como formas de estabelecer laços de confiança e de resposta às expectativas em relação ao mundo. Assim estabelece uma forma de lidar com a arte e as formas culturais que não mais se relacionam com o belo mas com a verdade.
In the first part of the paper, we take Walter Benjamin’s essay on cinema as a reference when thinking about his prognostic values. We are interested in these prognoses that affirm the transformation of art and its function, and which call our attention to the loss of transcendence and the decline of the aura of the work of art. At the same time, they show possibilities that affirm the continuity of art with a different role. The form of art that is suitable for this reflection is the cinema, and the parallel drawn by the philosopher between cinema and architecture. Our intention is to reflect on this parallel and the urban interventions as artistic forms of aesthetic modernity. Then I propose the discussion of the notion of art out of axis. The axis, we think of something that organizes and defines. The proposal to think about art in Latin America is made thinking about the center-periphery axis. However, we can still consider another starting point, thus changing direction, a change that is not only geographic but of what will be the reference to think of art, taking into account the artistic production submitted to the market and the stock exchange. Nowadays, we seek to account for the phenomenon of urbanistic growth, and we remain perplexed by the force that assumed financial capitalism, which, now, not only transforms everything into the value of exchange but has also resulted in the loss of any meaningful reference to the original value. Article received: December 10, 2019; Article accepted: January 31, 2020; Published online: April 15, 2020; Original scholarly paper
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