A tessitura da memória em o vendedor de passados de José Eduardo Agualusa

In the study of African literature in Portuguese language, the theme importance of memory is done by contact those literary works have with the context in which they operate. This study aims to reflect how memory as social element becomes an agent of the composition of literary structure in the O Vendedor de Passados (2004), by José Eduardo Agualusa. Therefore, we have as reference the critical method developed by Antonio Candido (1976), regarding the critical dialectic, in order to understand how such a throwback acts in the structuring of the romance in a relationship with both structural and thematic elements. Firstly, it presents a panoramic reading the Angolan literary scene in the post-independence, relating this context with the route of writing of José Eduardo Agualusa. Then it performs the analysis of the relationships between narratives categories - narrator, characters, space, time - and the memorial element, keeping in mind that these categories would be constructed in dialogue with the memory. Lastly, there is the reflection on the dynamics between fiction and reality apprehended in novelistic discourse in which a seller of past figures in an analysis that takes place from the skeptical look on this work. As a theoretical approach, we highlight mainly readings: Hampaté-Bâ (2010), Laura Padilla (2007), Tania Macêdo (2008) for the observation of the specific African context quickened in the novel; Tedesco (2004), Halbwachs (2006), Le Goff (2003) regarding the conceptualisation of memory; and Landesman (2006), Krause (2004), Gai (1997) in cutting the skeptical outlook with which the romance dialogues

O lugar no espaço: de Martin Heidegger para Eduardo Chillida

In preparing the book Art and Space - originally titled Die Kunst und der Raum (1969) - together with the work of Eduardo Chillida, and devote the text written to the sculptor, Heidegger seems to see in the works of Chillida some of his key themes rescued and reunited. This fusion of content and thought was revealed in his dialogue, at another moment, with the poetry of Friedrich Hölderlin. This dissertation aims to present some of the fundamental concepts in Heidegger's work, especially space, place and art; as well as explain the dialogue between these concepts and the works and thoughts of the sculptor Eduardo Chillida. Amongst the main points of this convergence of thought between the philosopher and the sculptor, we can find: the definition of art; the relationship of world and earth; the thinking about the place of art nowadays; and the meanings of interspace, to incorporate and make the space positive

Programas de verdade, "mundos de crença": o verdadeiro segundo Paul Vayne

This study comes to reflect on the place of truth in everyday human experience. The notion of truth, expressed in different ways, in different systems of thought, cultural and historical, reveals the non-uniformity of their meaning and the arbitrary grouping under one name, truth. Given this fact, of so many beliefs taken as absolute, we ask with the historian Jean Marie Paul Veyne, if the truth is only one, or many called by a word namesake. If, through their ideas, men cannot access a definitely solid knowledge, unchanging and jaunty interference of the human condition (as their interests and affections), then in what sense it can claim a greater and exclusivist truth? Assuming the impossibility of apprehension of the reality of this type, Paul Veyne develops the notion of truth programs, referential beliefs assumed as cartographies that direct action and thought. He defends thus the idea of heterogeneity and plurality, as irreducible elements of human truths. On the one hand there is in society a plurality of truth programs, on the other there is a plurality of beliefs that is inside man. That is, in the way they believe the men also shows plural, because they believe in more than one program and counter programs. The thought of Paul Veyne is nonetheless a form of skepticism directed at all supposedly absolute and universal anthropological truths, because depending on the belief system studied and the specific moment in its history, a set of rules is established to distinguish the true from the false.