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Da leitura: um problema específico e um problema global em V. Woolf
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O presente trabalho procura explorar um peculiar conceito de leitura a partir do projeto literário de V. Woolf, onde ela aponta para uma leitura total: algo constante, contínuo, ou com a indicação de se tratar de uma forma de leitura que não diz respeito só a livros. Para responder à nossa pergunta inicial — “porque lemos?” —, o conceito woolfiano de character reading é fundamental e divide o problema em duas esferas: por um lado, a dimensão específica que está associada a textos (leitura no primeiro sentido) e, por outro, a sua dimensão global que engloba uma “leitura da vida” enquanto personagem total (leitura no segundo sentido).
Do mesmo modo, V. Woolf reconhece na própria composição do aparecimento que constitui a vida humana uma modalidade específica que do ponto de vista dela é a condição de possibilidade para haver arte: os moments of being. Com estes momentos contrastam os moments of non-being, uma forma de acesso à realidade que está associada a um adormecimento funcionário em que a vida está como que “apagada”. Mas, é o binómio “poesia” e “prosa” que melhor define o projecto literário aqui em causa, um projecto que admite uma continuidade entre literatura e Vida e, ao mesmo tempo, uma continuidade entre Filosofia e Literatura. Para V. Woolf, o projecto de “dissipação da opacidade” passa por uma aproximação do deep purple: a perfusão das esferas poesia e prosa, ou a totalidade do tecido da Vida.
Como tudo isto se desenha, é o ensaio ‘How Should One Read a Book?’ que nos coloca perante os dois momentos de leitura: o “actual reading” e o “after reading”. Surge a necessidade de rever a qualidade das nossas leituras — revisão de um ponto de vista que espelha a própria condição humana: a finitude. Com a análise de Jacob’s Room e To the Lighthouse encontramos um momento intermédio entre os dois momentos da leitura. Colocamos a elegia na equação e perguntamos pela possibilidade da biografia e, por consequência, pela possibilidade de a vida humana se aproximar do deep purple.
This paper aims to explore a peculiar concept of reading that derives from V. Woolf's literary project, in which she points to a total reading: something constant, continuous, or a form of reading that extends beyond the written text. To address our preliminary query — “Why do we read?”— Woolf’s concept of character reading is crucial, dividing the issue into two realms: first, the specific dimension related to the written word (reading in the first sense), and second, the global dimension encompassing a “reading of life” as a total character (reading in the second sense). Similarly, Woolf identifies a particular aspect in the emergence of human life that, from her perspective, is the very condition for the existence of art: the moments of being. These moments contrast with the moments of non-being, a form of engagement with reality tied to a functioning numbness where life seems to be “switched off.” Nevertheless, it is the interplay of “poetry” and “prose” that best defines Woolf’s literary project — a project that acknowledges the continuum between literature and life, as well as between philosophy and literature. For Woolf, the project of “dispelling opacity” involves approaching the deep purple: a perfusion of poetry and prose, or the entirety of Life's tissue. As the narrative unfolds, Woolf’s essay ‘How Should One Read a Book?’ introduces the two stages of reading: actual reading and after reading. This prompts the need to review the quality of our readings — an assessment that reflects the human condition itself: finitude. Through the analysis of Jacob’s Room and To the Lighthouse, we find an intermediate moment between these two stages of reading. The elegy is brought into the equation, and we wonder about the possibility of biography and, consequently, whether human life can approach the deep purple.
This paper aims to explore a peculiar concept of reading that derives from V. Woolf's literary project, in which she points to a total reading: something constant, continuous, or a form of reading that extends beyond the written text. To address our preliminary query — “Why do we read?”— Woolf’s concept of character reading is crucial, dividing the issue into two realms: first, the specific dimension related to the written word (reading in the first sense), and second, the global dimension encompassing a “reading of life” as a total character (reading in the second sense). Similarly, Woolf identifies a particular aspect in the emergence of human life that, from her perspective, is the very condition for the existence of art: the moments of being. These moments contrast with the moments of non-being, a form of engagement with reality tied to a functioning numbness where life seems to be “switched off.” Nevertheless, it is the interplay of “poetry” and “prose” that best defines Woolf’s literary project — a project that acknowledges the continuum between literature and life, as well as between philosophy and literature. For Woolf, the project of “dispelling opacity” involves approaching the deep purple: a perfusion of poetry and prose, or the entirety of Life's tissue. As the narrative unfolds, Woolf’s essay ‘How Should One Read a Book?’ introduces the two stages of reading: actual reading and after reading. This prompts the need to review the quality of our readings — an assessment that reflects the human condition itself: finitude. Through the analysis of Jacob’s Room and To the Lighthouse, we find an intermediate moment between these two stages of reading. The elegy is brought into the equation, and we wonder about the possibility of biography and, consequently, whether human life can approach the deep purple.
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V. Woolf Leitura Leitura de carácter Condicionamento perspetivístico Poesia Prosa Momentos de ser Momentos de visão Biografia Elegia Reading Character reading Perspectivism Poetry Prose Moments of being Moments of vision Biography Elegy