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O processo psicológico da identificação emocional com o herói é o paradigma domi-nante da civilização literária ocidental desde a sua descrição na Poética de Aristóteles como mecanismo básico da receção da obra por parte do leitor/espetador, e a sua adoção como vetor primário daquela edificação moral prezada na antiguidade clássica e na tradição cristã como função antropológica essencial da literatura.Gesto fundador da modernidade literária a partir, pelo menos, do fim do século XIX, numa inovação que seria teorizada sistematicamente na dramaturgia do estranhamento de Bertolt Brecht, a rutura com este paradig-ma implica uma mudança radical não apenas do discurso antropológico veiculado pela lite-ratura e da interpretação do seu papel como agente moral, mas também do discurso te-ológico por ela implícita ou explicitamente desenvolvido. Com referência final à obra de duas escritoras símbolo desta evolução como Flannery O Connor e Clarice Lispector, focalizar-se-á o núcleo teológico da poética do estranhamento, de desativação da identificação empática com o protagonista: é através da intolerável, repugnante, deformidade (moral e estéti-ca) do ser humano que a redenção se manifesta como ocorrência, imprevisível e humanamente impossível, da Graça, como abismo incompreensível em que a transcendência se abre caminho, derrubando todo o raciocínio, toda a expetati-va, toda a lógica. Porque a redenção é Graça, não Lei.
The psychological process of emotional identification with the hero is the dominant paradigm of Western literary civilization since its description in Aristotle’s Poetics as the basic mechanism of reader’s/spectator’s reception of works, and its adoption as the primary vector of that moral edification praised in classical antiquity and in the Christian tradition as an essential anthropological function of literature.Founding gesture of literary modernity from at least the nineteenth century, through an innovation that will be theoretically formalized in Bertolt Brecht’s dramaturgy of estrangement, the break with this paradigm implies a radical change not only in the anthropological discourse conveyed by literature and in the interpretation of its role as moral agent, but also in the theological discourse implicitly or explicitly developed by literature.With final reference to the work of two writers symbolizing this evolution, such as Flannery O’Connor and Clarice Lispector, the essay focuses on the theological core of the estrangement poetics, with its blocking of the empathic identification with the protagonist: it is through the intolerable, repulsive deformity (moral and aesthetic) of a human being that redemption manifests itself as the unpredictable and humanly impossible occurrence of Grace, as an incomprehensible abyss in which transcendence makes her way, overthrowing all reasoning, all expectation, all logic. Because redemption is Grace, not Law.
The psychological process of emotional identification with the hero is the dominant paradigm of Western literary civilization since its description in Aristotle’s Poetics as the basic mechanism of reader’s/spectator’s reception of works, and its adoption as the primary vector of that moral edification praised in classical antiquity and in the Christian tradition as an essential anthropological function of literature.Founding gesture of literary modernity from at least the nineteenth century, through an innovation that will be theoretically formalized in Bertolt Brecht’s dramaturgy of estrangement, the break with this paradigm implies a radical change not only in the anthropological discourse conveyed by literature and in the interpretation of its role as moral agent, but also in the theological discourse implicitly or explicitly developed by literature.With final reference to the work of two writers symbolizing this evolution, such as Flannery O’Connor and Clarice Lispector, the essay focuses on the theological core of the estrangement poetics, with its blocking of the empathic identification with the protagonist: it is through the intolerable, repulsive deformity (moral and aesthetic) of a human being that redemption manifests itself as the unpredictable and humanly impossible occurrence of Grace, as an incomprehensible abyss in which transcendence makes her way, overthrowing all reasoning, all expectation, all logic. Because redemption is Grace, not Law.
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Keywords
Identificação Estranhamento Repugnância Deformidade Redenção Poética Aristóteles Flannery O'Connow Clarice Lispector Identification Estrangement Deformity Redemption