Das cinzas aos mafuás: infância e morte na lírica de Manuel Bandeira

Cet article étudie la poésie de l'enfance et de la mort de Manuel Bandeira, à partir de la relation entre l'expérience, le langage et le sens, afin de mettre en place une nouvelle perspective sur ce thème, qui sert de guide et structure son Estrela da vida inteira (1966). Pour cela, il faut introduire la notion de lyrique, discutée par Theodor Adorno, pendant la conférence Lírica e sociedade (1958), à promouvoir la compréhension du poète, comme c'est le cas de Bandeira, implique son art par le biais de la dimension négative face à une situation de fétichisation des choses, afin d'appréhender des expériences qui constituent la substance de la vie et l'essence de la poésie. À cette perspective de lyrique s ajoutent les concepts de l'enfance et de la mort, exploités par Giorgio Agamben, dans les oeuvres Infância e história (2005) et A linguagem e a morte (2006), étant largement favorables à la compréhension de la poétique de l'enfance chez Manuel Bandeira, comme une sorte de discours qui récupère l'idée d'expérience dans l actualité, en marquant la limite entre une expérience muette et une expérience de la langue, de même, la mort apporte des implications relatives à la négativité, comme une brèche par laquelle l'auteur explore la signification de sa lyrique et la«dénoue» des incrustations du monde réifié, pour être dans la défense du langage non contaminé par le clôturée qui entravent la conservation de la créature et la donnée originaire des choses . Cela culmine l aboutissement de la thèse, la conclusion d être la négativité la voie qui explicite, dans l oeuvre bandeirienne, la culture brésilienne non comme une totalité positivée dans une ethnie, classe ou nation, mais comme un langage qui reconstruit, avec lyrisme, le coloré mosaïque qui est le Brésil

Os agentes funerários e a morte: o cuidado presente diante da vida ausente

The present time is marked by the art of escape from death, which has become synonymous with failure, its exposure has become intolerable and the care of the dead body were assigned to third parties who market this practice through services and products that shape the market undertaker. In this context, in which death is an object of study, has arisen funeral officers, as professionals dealing with a dead body, with the pain of relatives and their reactions, often being the first to have contact with the death scene. As professionals in the health area, the morticians also deal with death. The first attempt to prevent the arrival of death, funeral officers already has begun their work routine from there. Death and its surrounding part of their profession. What about those professionals whose work demands as a feared and denied by society? This study aims to understand the intents, meanings and implications for the mortician to deal with death in their daily work in order to focus renewed attention to the care of these professionals. To this end, it was carried out a qualitative research grounded in the theoretical framework of Gadamerian hermeneutics for production and interpretation of narratives. It was used two methodological strategies for data collection: in-depth interview with script and workshop with the use of "scenes". Research participants were nine morticians funeral of two funeral agencies of the city of Natal. It was possible to detect the presence of the social imaginary of interdiction on the theme of death from living with feelings of his presence daily, from the need of respondents to naturalize their contacts with death, a requirement of their office to deal with the difficulties of manipulating body fluids and odors, sometimes in a state of decomposition; allied to wishes to achieve the goal of delivering to family-customers a "embellished" body for the final farewell. Being a mortician, in addition to not being a professional motivation, involves facing difficulties related to heavy routine work, low salaries, unprofitable work materials and equipments, besides having to deal with the social gaze that devalues the profession. In turn, they also deal with the pain coming especially from contact with family members, either when they are targets of these feelings of anger, whether they identify with the pain of the bereaved ones. On the other hand, when the recognition and gratitude of the families occur, they find meaning and beauty in their profession of caring for the dead body. The present study by giving voice to morticians has become possible to understand better their profession, the pain that surrounds and care needs of these workers. Finally, it has argued that the mortician may be recognized as a care professional for the way exercising caution with the dead body and their families.