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Advisor(s)
Abstract(s)
Na literatura portuguesa contemporânea, Lídia Jorge afirma uma trajetória cujo lastro luminoso é portador de uma capacidade singular de dialogar em simultâneo com a imensidão do cosmos e com o espaço singular do homem, confirmando um propósito de uma demanda infinita na busca das palavras capazes de traduzir o mundo. Cremos que será esta busca obsidiante que convida ao decalque do sofrimento humano, da injustiça, da invisibilidade, do sacrifício e da esperança (esta que sempre abre um rasgo redentor na sua obra), denominadores que entendemos serem cruciais para a interpretação da mundividência da obra jorgiana. Assim, neste estudo, demonstramos que sacrifício, liberdade e memória afiguram-se como dominantes axiais nesta obra, faltando todavia na recepção crítica da autora uma aglutinação dos mesmos, um entrelaçamento que nos parece ser portador de uma discussão germinadora de amplos sentidos. Lídia Jorge será sempre uma escritora que faz circular um discurso em batalha com os desvios da sociedade, gesto carregado de riscos, mas apenas porque é imensa a sua capacidade de efabulação argumentativa. Talvez porque tivesse havido um tempo em que «os mitos nos visitaram». Ao mesmo tempo sobressai existe a invocação – que tudo move na revelação do oculto – a tornar-se numa coisa de transfiguração do real em que a mão da narradora se transforma numa «Beatriz em falta» às voltas com o desvelamento da alma. Assim, centraremos o início do nosso percurso nos dois romances que se constituem, para nós, como marcos de início e de fim de um ciclo de esperança no universo literário de Lídia Jorge: O Dia dos Prodígios (1980) e Os Memoráveis (2014a), a partir de onde criaremos um espaço à análise de outras obras da autora, nomeadamente, O Jardim Sem Limites (1995), O Vale da Paixão (1998) e O Vento Assobiando nas Gruas (2002), dando ênfase, quer à voz das suas personagens, quer à dilucidação do seu mundo interior e à dimensão poética da linguagem. Sublinharemos aquilo que entendemos como essencial na sua obra: a dimensão corpórea e silenciosa da palavra como meio de se debruçar sobre o outro e sobre o mundo bem como a tragicidade da existência humana abaulada no sacrifício, entendido como a catarse imprescindível na sobrevivência diária aos desentendimento humanos. «Entre o silêncio e a fulguração da palavra», remete, em suma, para a constatação de que esta é não só a base constitutiva dos textos de Lídia Jorge, como aponta a grande questão declarativa de toda uma obra.
In contemporary Portuguese literature, Lydia Jorge affirms a trajectory whose luminous ballast carries a unique ability to simultaneously dialogue with the immensity of the cosmos and with the singular space of man, confirming a purpose of an unending demand in the search for words that have proved skillful in translating the world. We believe that this obsessive quest calls upon the portraying of human suffering, injustice, invisibility, sacrifice and hope (the one that always creates a redemptive breakthrough in her writings) as touchstones that we understand to be crucial for the interpretation of Jorge’s world vision. This text will demonstrate that sacrifice, freedom, and memory appear to be the dominant guidelines in this literary work. Nevertheless, these guidelines lack agglutination in their critical reception, since we trust its conceptual intertwining as being the carrier of a discussion that will foster the development of broader meanings. Because of her immense capacity for argumentative creation, Lídia Jorge will always be a writer who shares a discourse that struggles against the deviations of society, despite the risks involved in this tenure. There was perhaps a time when “myths visited us”. Invocation, which revolves everything in the revelation of hidden meanings, simultaneously becomes a spot of transfiguration of the real in which the narrator's hand turns into a “Missing Beatrice” in search for the unveiling of her soul. The path we are hereby proposing starts with the two novels that we consider as milestones of the beginning and end of a cycle of hope in the literary universe of Lídia Jorge: O Dia dos Prodígios (1980) [The Day of Wonders] and Os Memoráveis (2014a) [The Memorable]. The analysis of other writings will follow, namely, O Jardim Sem Limites (1995) [The Garden Without Limits], O Vale da Paixão (1998) [The Valley of the Passion] and O Vento Assobiando nas Gruas (2002) [The Wind Whistling through the Cranes]. The voice of their characters as well as the explanation about their inner world and the poetic dimension of language shall be hereto emphasized. Along this path we shall stress our understanding of the essential clusters in her writings, i.e., the corporeal and silent dimension of the word as a means of addressing the Other and the world as well as the tragic condition of human existence as evidenced within sacrifice, understood as the necessary catharsis for surviving the daily human misunderstandings. “Entre o silêncio e a fulguração da palavra” – (Between the silence and the fulguration of the word), establishes that this is not only the constitutive basis of Lídia Jorge's texts: it also points out the utmost statement of a lifetime literary work.
In contemporary Portuguese literature, Lydia Jorge affirms a trajectory whose luminous ballast carries a unique ability to simultaneously dialogue with the immensity of the cosmos and with the singular space of man, confirming a purpose of an unending demand in the search for words that have proved skillful in translating the world. We believe that this obsessive quest calls upon the portraying of human suffering, injustice, invisibility, sacrifice and hope (the one that always creates a redemptive breakthrough in her writings) as touchstones that we understand to be crucial for the interpretation of Jorge’s world vision. This text will demonstrate that sacrifice, freedom, and memory appear to be the dominant guidelines in this literary work. Nevertheless, these guidelines lack agglutination in their critical reception, since we trust its conceptual intertwining as being the carrier of a discussion that will foster the development of broader meanings. Because of her immense capacity for argumentative creation, Lídia Jorge will always be a writer who shares a discourse that struggles against the deviations of society, despite the risks involved in this tenure. There was perhaps a time when “myths visited us”. Invocation, which revolves everything in the revelation of hidden meanings, simultaneously becomes a spot of transfiguration of the real in which the narrator's hand turns into a “Missing Beatrice” in search for the unveiling of her soul. The path we are hereby proposing starts with the two novels that we consider as milestones of the beginning and end of a cycle of hope in the literary universe of Lídia Jorge: O Dia dos Prodígios (1980) [The Day of Wonders] and Os Memoráveis (2014a) [The Memorable]. The analysis of other writings will follow, namely, O Jardim Sem Limites (1995) [The Garden Without Limits], O Vale da Paixão (1998) [The Valley of the Passion] and O Vento Assobiando nas Gruas (2002) [The Wind Whistling through the Cranes]. The voice of their characters as well as the explanation about their inner world and the poetic dimension of language shall be hereto emphasized. Along this path we shall stress our understanding of the essential clusters in her writings, i.e., the corporeal and silent dimension of the word as a means of addressing the Other and the world as well as the tragic condition of human existence as evidenced within sacrifice, understood as the necessary catharsis for surviving the daily human misunderstandings. “Entre o silêncio e a fulguração da palavra” – (Between the silence and the fulguration of the word), establishes that this is not only the constitutive basis of Lídia Jorge's texts: it also points out the utmost statement of a lifetime literary work.
Description
Keywords
Palavra Poetização Sacrifício Liberdade Memória Romance Lídia Jorge Word Poetization Sacrifice Freedom Memory Romance