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Existência e criação enquanto drama religioso simbólico: a filosofia poética de Teixeira de Pascoaes em Duplo Passeio e algumas biografias
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Tomando a obra tardia de Teixeira de Pascoaes, em particular algumas das biografias (São Paulo, São Jerónimo e a Trovoada e O Penitente) e Duplo Passeio, como súmula de uma filosofia poética original, propõem-se leituras comparativas com expressões literárias, filosóficas e cinematográficas, na tentativa de deslocar o autor para uma leitura mais ampla e um diálogo que ultrapasse a sua condição epocal. Esta filosofia poética será entendida enquanto drama religioso, representado pelos “santos” das biografias de Pascoaes, que prefiguram uma sinonímia entre poesia e existência, dos biografados e do autor. Para compreender este drama religioso, localizam-se as suas origens no Gnosticismo e no Romantismo. Conceitos como o “cavaleiro da fé” de Søren Kierkegaard, a “Obra” no pensamento de Maurice Blanchot, entre outros, serão utilizados para problematizar a poética de Pascoaes, em roda de um conjunto de características representativas deste drama religioso, enquanto filosofia poética. Leituras comparadas de Emil Cioran, enquanto poeta da insónia, e das representações da experiência do divino na obra cinematográfica de Pier Paolo Pasolini, servirão para reflectir possíveis respostas às ambiguidades e angústias criadas pela modernidade, condição em que se insere, o drama religioso de Pascoaes. Por fim, o ateoteísmo de Pascoaes é comparado com o ateísmo cristão, desenvolvido em anos recentes por Slavoj Žižek. Conclui-se com uma análise da capacidade soteriológica da saudade ateoteísta como proposta final de Teixeira de Pascoaes.
Taking the late works of Teixeira de Pascoaes, particularly some of the biographies (São Paulo, São Jerónimo e a Trovoada e O Penitente) and Duplo Passeio, as a summary of an original philosophy of poetry, several comparative readings are done, against literary, philosophical and cinematographic works, in an attempt to dislocate the author to a wider look and a dialog that can surpass its epochal condition. This philosophy of poetry will be understood as a symbolic religious drama, represented by the “saints”, in the biographies written by Pascoaes, which prefigure a synonymy between poetry and existence, both of the biographed figures and of the author himself. To better understand this religious drama, its origins are traced back to Gnosticism and Romanticism. Concepts such as “the knight of faith” by Søren Kierkegaard, Maurice Blanchot’s “oeuvre”, among others, will serve to problematize the poetics of Pascoaes, around a number of representative characteristics of this religious drama as a philosophy of poetry. Comparative readings of Emil Cioran, as the poet of the insomnia, and the representations of the “divine” presented in the films of Pier Paolo Pasolini, are taken as a way to reflect upon possible answers to the ambiguities and anguishes created by the modernity, condition in which, the religious drama is born and expanded by Pascoaes. At the end, “atheotheism”, an original concept formulated by Pascoaes, is compared side-by-side with the recently developed theories of “Christian atheism” by Slavoj Žižek. The dissertation concludes with an analysis of the concept of an “atheotheistic saudade”, in its soteriological capability, as the drama’s ultimate answer proposed by Teixeira de Pascoaes.
Taking the late works of Teixeira de Pascoaes, particularly some of the biographies (São Paulo, São Jerónimo e a Trovoada e O Penitente) and Duplo Passeio, as a summary of an original philosophy of poetry, several comparative readings are done, against literary, philosophical and cinematographic works, in an attempt to dislocate the author to a wider look and a dialog that can surpass its epochal condition. This philosophy of poetry will be understood as a symbolic religious drama, represented by the “saints”, in the biographies written by Pascoaes, which prefigure a synonymy between poetry and existence, both of the biographed figures and of the author himself. To better understand this religious drama, its origins are traced back to Gnosticism and Romanticism. Concepts such as “the knight of faith” by Søren Kierkegaard, Maurice Blanchot’s “oeuvre”, among others, will serve to problematize the poetics of Pascoaes, around a number of representative characteristics of this religious drama as a philosophy of poetry. Comparative readings of Emil Cioran, as the poet of the insomnia, and the representations of the “divine” presented in the films of Pier Paolo Pasolini, are taken as a way to reflect upon possible answers to the ambiguities and anguishes created by the modernity, condition in which, the religious drama is born and expanded by Pascoaes. At the end, “atheotheism”, an original concept formulated by Pascoaes, is compared side-by-side with the recently developed theories of “Christian atheism” by Slavoj Žižek. The dissertation concludes with an analysis of the concept of an “atheotheistic saudade”, in its soteriological capability, as the drama’s ultimate answer proposed by Teixeira de Pascoaes.
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Palavras-chave
Teixeira de Pascoaes Poética Criação Existência Drama religioso Saudade Ateoteísmo Kierkegaard Blanchot Pasolini Cioran Žižek Poetics Creation Existence Religious drama Atheotheism