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A densidade filosófica da obra de Vergílio Ferreira estabelece-se nas fronteiras do jogo entre a finitude e o transcendente. De Aparição a Estrela Polar, passando por Em Nome da Terra ou Para Sempre, o drama da existência rompe com o sentido aparente da significação do sujeito, abrindo-o à deriva ontológica e ao resgate do tempo passado como condições para a compreensão existencial. No sofrimento daquele que rememora, vemos o remorso da incompletude, da frugalidade e da efemeridade, que conduzem o sujeito a uma paradoxal procura do divino [seja enquanto entidade metafísica ou enquanto potencialidade criativa de um ser confinado às limitações e potencialidades de um corpo]. Deus é, simultaneamente, a condição para a afirmação da liberdade criadora do sujeito e a constatação agónica do absurdo de existir. Deus assoma, então, na obra de Vergílio Ferreira, como pêndulo entre a vontade de afirmação e o absurdo das possibilidades. Da ambivalência do lugar de Deus, emerge o Homem como ser lançado na existência e absorto de culpa. O Homem como potencial de criação que é capaz da mais exacerbada capacidade de olhar o Tempo, de rememorar. O Homem que se vê como um ser em processo e, portanto, que sobrevive [ilusoriamente?] à catástrofe da transitoriedade. Vergílio impõe a reflexão sobre o que permanece do sujeito em processo de ser, um sujeito que efetivamente só se descobre na memória, interpretada como espaço de recriação e de significação. Mais do que indagar sobre as possibilidades do divino, a obra de Vergílio Ferreira pode ser interpretada como a procura de uma afirmação do eterno, como conjunto de instruções sobre como morrer, que permita ver a morte como síntese e harmonia de tudo o que se concebe no reino profícuo das possibilidades [Estrela Polar]. No fundo, a fim de realçar o legado do ser, mostra-se o Homem na diáspora por Deus, o que o expõe na sua ambivalência como ser de fronteira: entre o eterno [da memória, da capacidade, do sonho] e o futuro [que esconde sempre a morte, o vazio e a solidão]
The philosophical density of Vergilio Ferreira's work is established at the frontiers of the game between finitude and the transcendent. From Aparicao to Estrela Polar, through Em Nome da Terra or Para Sempre, the drama of existence breaks with the apparent meaning of the subject's meaning, opening it up to ontological drift and the rescue of past time as conditions for existential understanding. In the suffering of those who remember, we see the remorse of incompleteness, frugality and ephemerality, which lead the subject to a paradoxical search for the divine [either as a metaphysical entity or as a creative potential of a being confined to the limitations and potential of a body]. God is, simultaneously, the condition for the affirmation of the subject's creative freedom and the agonizing verification of the absurdity of existing. God appears, then, in the work of Vergilio Ferreira, as a pendulum between the will to affirm and the absurdity of the possibilities. From the ambivalence of God's place, Man emerges as being launched into existence and absorbed in guilt. Man as a potential for creation that is capable of the most exacerbated capacity to look at Time, to remember. The Man who sees himself as a being in process and, therefore, who survives [illusory?] The catastrophe of transience. Vergilio imposes a reflection on what remains of the subject in the process of being, a subject that is effectively only discovered in memory, interpreted as a space for recreation and meaning. More than inquiring about the possibilities of the divine, the work of Vergilio Ferreira can be interpreted as the search for an affirmation of the eternal, as a set of instructions on how to die, which allows one to see death as a synthesis and harmony of everything conceived in the fruitful realm of possibilities [Estrela Polar]. Basically, in order to highlight the legacy of being, Man is shown in the diaspora by God, which exposes him in his ambivalence as a frontier being: between the eternal [of memory, capacity, dream] and the future [that always hides death, emptiness and loneliness].
The philosophical density of Vergilio Ferreira's work is established at the frontiers of the game between finitude and the transcendent. From Aparicao to Estrela Polar, through Em Nome da Terra or Para Sempre, the drama of existence breaks with the apparent meaning of the subject's meaning, opening it up to ontological drift and the rescue of past time as conditions for existential understanding. In the suffering of those who remember, we see the remorse of incompleteness, frugality and ephemerality, which lead the subject to a paradoxical search for the divine [either as a metaphysical entity or as a creative potential of a being confined to the limitations and potential of a body]. God is, simultaneously, the condition for the affirmation of the subject's creative freedom and the agonizing verification of the absurdity of existing. God appears, then, in the work of Vergilio Ferreira, as a pendulum between the will to affirm and the absurdity of the possibilities. From the ambivalence of God's place, Man emerges as being launched into existence and absorbed in guilt. Man as a potential for creation that is capable of the most exacerbated capacity to look at Time, to remember. The Man who sees himself as a being in process and, therefore, who survives [illusory?] The catastrophe of transience. Vergilio imposes a reflection on what remains of the subject in the process of being, a subject that is effectively only discovered in memory, interpreted as a space for recreation and meaning. More than inquiring about the possibilities of the divine, the work of Vergilio Ferreira can be interpreted as the search for an affirmation of the eternal, as a set of instructions on how to die, which allows one to see death as a synthesis and harmony of everything conceived in the fruitful realm of possibilities [Estrela Polar]. Basically, in order to highlight the legacy of being, Man is shown in the diaspora by God, which exposes him in his ambivalence as a frontier being: between the eternal [of memory, capacity, dream] and the future [that always hides death, emptiness and loneliness].
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Filosofia Literatura Deus Morte Vergilio Ferreira Philosophy Literature God Death