Resumo de Lessons Of Abyss - Gustavo Corção

Gustavo Corção's book, Lessons of Abyss (Bookstore to Act Publisher, 13a edition, 1973), he is this forgotten thinker's more famous literary work and Catholic artist. The countless editions from the first in 1953 make to think that Corção had a significant public. They were famous their controversies with Loving Alceu Lima, Tristão of Athaíde, supporting of a liberaler Catholicism, while the one of Corção was hardly traditionalistic. Corção was called even of satã by the Lampoon, and disliked by a generation that had dived, as the priest Nando of Quarup, in the left Catholicism, making the preferential option for the poor.
Before analyzing the romance, it will be necessary contextualizar the Catholicism of Corção. While Catholic intellectuals like Tristão of Athaíde spent of the right in the years 30/40 for the left in the decade of 60, when of the appearance of the Theology of the Liberation, Corção was a former-atheist, and, when it returned to the Catholicism, it reaffirmed the dogmas furiously. Due to the polarization of the Cold war, it ended up sliding for the support posture to the Brazilian military regime. He/she became, with Nelson Rodrigues (away without the ostensible rudeness of this) the reactionary, the right-winger that the whole generation marked by 1968 identified and it attacked. But it is worthwhile to reexamine a literary work of the Catholic intellectual Gustavo Corção, that enrolls in a lineage of Catholic thinkers that one of our two only thought traditions is figured taken root (the other is the Marxist slope). Distant of the sexual metaphors and of the bad-taste sentences that do disturb Nelson's best works, Corção is a provided writer of aesthetic sensibility: when speaking of death, it passes far away from the morbidity and of the cynicism.
In Lessons of Abyss, a philosophy teacher called José Maria discovers that it is attacked of a cancer in the blood. Opera lover, cult and cultured, José dives in the obsession of the death idea, constantly thinking about the end. Amid dreams and metaphysical speculations, José Maria sits down if it disaggregates. It is surprisingly close of the Christian existentialism.
The character operística Kundry symbolizes, thereafter, the announced death. Starting from then José Maria lives existential experiences that you/they remind the one of Antoine Roquentin in the Nausea. He/she makes the famous experience of the negative then, that perpassa the philosophy of Sartre and Heidegger and the texts of Camus. Falling in the abysses of the subjectivity, José Maria lives moments of extreme delicacy and of very select sensibility. The discovery of the me. I read today in the philosopher's pages. it i completed in the abysses of the subjectivity. That i the calculated document, written in runic characters, that it fell me by chance in the hands, and that it indicates in the such concise way the road of the center of the Earth. Eia, Axel, arrived the hour. He/she dismisses you of beautiful Gräuben. We will go down to the abysses.
The romance makes a dive movement and turn to the surface, in search of the room of the throne in the charmed castle of himself. José Maria answers Freud, he wants to find me Cartesian, where the I was as a king in his/her castle, but he only finds silence, darkness, feels foreigner of himself, he sees the own finger as a fence wood dropped, that the sad owner of this to sole ruined makes calculations as and when it will repair. Anything he consoles, turning over the memory, he sits down a melancholic prisoner that it browses an album; he is not in the own imagination, that combined projections on camera, that superposing shows, approximating volcanos, stars and roses. It Falls, it falls down in the emptiness, he/she wakes up screaming, holding on to teacher's title. He imagines the day in that it will leave for the other world, sells the world stand back slowly, as a wharf with a lot of grateful people, with many handkerchien other moments, however, José Maria demonstrates an aristocratic elitism, criticizing nationalist and socialist postures for his collectivism, that he judges vile, having assimilated to his/her Christianity the critic of Nietzsche to the slaves morals. José Maria possesses an Olympic vision of the world.
In the foregoing passage, the character is a esthete of the absurdity that she finds a romantic nationalist and bohemian. Hostility appears among the two, because José Maria is living the negative deeply. What elevates him/it of the abysses of the subjectivity is always the experience of the beautiful. Ostensivamente influenced by Machado of Assis, Corção mentions the story of the Epitaph of a Small Winner. It consists that it published, besides, a rehearsal on Machado.

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