Resumo:A proposta deste artigo é discutir as relações entre literatura e direitos humanos a partir das ideias de Antonio Candido, no texto O direito à literatura, e da obra de Primo Levi, É isto um homem?, publicada como testemunho da experiência nos campos de concentração durante a Segunda Guerra Mundial. A análise, em um primeiro momento, concentra-se na presença do texto literário, mais especificamente a Divina Comédia de Dante Alighieri, na recordação do prisioneiro italiano, de modo a compreender a força humanizadora da literatura que se impõe como fundamental ainda em tempos sombrios. Nesse sentido, não apenas o conteúdo do discurso, mas também a forma engendrada pelo poeta, são vistos como significativos no processo de humanização colocado em marcha pela literatura. A seguir é tratada a questão da promoção dos direitos humanos pela obra literária do próprio Levi, que denuncia os horrores aos quais milhares de homens foram submetidos, em uma tentativa de impedir que fatos como esse se repitam nas gerações futuras.Abstract: The purpose of this paper is to discuss the relationship between literature and human rights considering Antonio Candido's ideas in the text O direito à literatura (The right to literature) and the work of Primo Levi, Survival in Auschwitz: If this is a Man, published as a testimony of the experience in the concentration camps during the World War II. The analysis initially focuses on the presence of the literary text, specifically the Divine Comedy of Dante Alighieri, in the mind of the Italian prisoner, in order to understand the humanizing power of literature, which is fundamental even in dark times. Not only the content of the speech, but also the form engendered by the poet are seen as significant in the humanization process set in motion by literature. The paper will also examine the issue of promotion of human rights by the literary work of Levi, that denounces the horrors to which thousands of men underwent, in an attempt to prevent events like this from recurring in future generations.
Italo Svevo's epistolary, first published in 1966, offers itself to the critic as a tangle of problems that can be interpreted using multiple approaches: historical, linguistic, literary etc. After recognizing in the letters of the Triestino writer a series of themes also developed in his literary works, we proposed the hypothesis that the letters became for him a writing laboratory. He could exercise his language, his literary procedures and still construct for an image of himself as an artist. In order to demonstrate the validity of our hypothesis, we investigated the epistolary personae constructed throughout the correspondence of the writer and how they contributed both to the creation of literary characters and to the elaboration of an authorial scenography. After that we did a comparative analysis between some of Italo Svevo's letters to his wife and some excerpts from his novel Zeno's Conscience, verifying to what extent the themes were reproduced or transformed within the novel structure. At the end of this dissertation, we present the annotated translation of some letters of the writer as a complement to the observations developed here.
Present in all the works of Samuel Beckett, the comic becomes increasingly radical every stage of his narrative. Starting from the parodic procedures in the texts of the 30s, the comic erodes the structures of the genre in the novels of the 50s and finally reaches language itself around the 70s. This article establishes a relationship between the Henri Bergson's theory of laughter and the novel Molloy (1951). From this study, we can see how Bergson's ideas about the rigidity (of body, of character, of language) help explain the metanarrative effects of the comic on this second phase.
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