Tragicidade dialética na poética de Antero de Quental

Abstract

The present work is framed within the studies around the interface between Literature and Philosophy, focusing on the analysis and interpretation of the main poetic works by Antero de Quental, Odes Modernas and the book ofs Sonetos. The objective is to understand the tragic in his poetry, taking Raymond Williams' sociology as a theoretical contribution, with respect to the concept of sentiment structure, and also incorporating theoretical contributions from other authors, such as GWF Hegel and Ludwig Wittgenstein, with respect to aspects. del language; K. W. F. Solger, on the impossibility of the idea's immanent manifestation within the Hegelian system; Plotin, within the limits of the human rational language to express the absolute and Søren Kierkegaard, with respect to desperate consciousness; and the hermeneutics of Fredric Jameson, who sees literature as a symbolic form of evident social relationships. The analysis considers the tragic aspect as a feeling with all its characteristics, in addition to a particular experience, referring to the presence of elements common to various works of art in the same historical period. The theme in the question involves a dilemma, expressed at the semantic-discursive level, which presents itself as a tension between the thought and the limits of its expression in aesthetics, realistic world and language, and that is translated, in previous poetry, in previous poetry. a disability of the poet. to find a language capable of satisfying it as a means of expressing the Ideal, a way in which the poet can conceptually manifest immediate experiences with the phenomenal world, making them absolute. The analysis and interpretation of the semantic-discursive strata of the previous poetry, especially the images created by the poet through metaphors, reveal a dialectic between the Idea and the manifestation of the Idea in terms of the aesthetic configuration of realism. The thesis defended in this investigation is that, among the literary productions of the poet, there is a dialectical movement that constitutes itself as a tragic dialectic. The previous tragic feeling is revealed before the limits of a linguistic conception of realistic aesthetics. The ideals and values of the lyric were incompatible with reality and could not be fulfilled in the concrete world because of its consciousness, given that the absolute, the unlimited in the same, could not be formed within the limits of the language of realism.