O amor como ele é nos textos dramáticos de Nelson Rodrigues

• Ano de defesa: 2014
• Autor(a) principal: Bastos, Carolina Leopardi Gonçalves Barretto
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Alagoas; Brasil; Programa de Pós-Graduação em Letras e Linguística; UFAL
• Palavras-chave em Português: Rodrigues, Nelson, 1912-1980 – Crítica e interpretação; Literatura brasileira; Crítica literária; Amor na literatura - Nelson Rodrigues; Rodrigues, Nelson, 1912-1980 - Criticism and interpretation; Brazilian literature; Literary criticism; Love in Literature - Nelson Rodrigues; Dramatic Literature; Brazilian Theatre; CNPQ::LINGUISTICA, LETRAS E ARTES
• Link de acesso: http://www.repositorio.ufal.br/handle/riufal/6258

This thesis consists of a discussion upon love in the dramatic texts of Nelson Rodrigues. The starting point here lies on the hypothesis according to which the traditional meanings of Christian agape, Aristotelian philia and Platonic eros play a master role in the context of the tragicalness of the work. In this sense, there are in this thesis incursions to the Classical Philosophy in which the corresponding reference universes were systematized in order to demonstrate the relevence of such contents in the actions of the characters, according to an existentialist perspective, in the sense used by Hélio Pellegrino (Uma confissão de amor ao ser humano). In this theoretical and methodological approach, the focus is on the character, which can reveal the human condition, in depth analysis. According to which, Nonô (Álbum de família), Gilberto (Perdoa-me por me traíres) and Arandir (O beijo no asfalto), in the sense of characters that become viable the rare emergences of agape, are compared side by side with religious texts trough a process through which proves the convertibility between tragic and comic aspects, based principally on the non place of the spiritualized love. In the second instance, the philia according to Aristotelian Etica Nicomaquea occupies the foreground of research, with the demonstration of its presence - absence. Presence as proximity (familiar or friendship) and absence as occasion of competition. This relations are discussed in terms of philia-agon, sometimes in terms of the birth context of the philosophy x tragedy (characteristics of the key elements of the genres such as pathos and eudaimonia ) and sometimes in the relationship between the sisters Guida and Lídia (A serpente), Alaíde and Lúcia (Vestido de noiva) and Aurora and Silene (Os sete gatinhos).Such analyses reveal , among several other things, that the love philia persists in a very specific sense, according to which the set of the family suffers strikes from the erotic love that fray its web only resumed later, allusively, in the new order of the relationships of those who have left to tell the story. Finally, the erotic love is presented through the discourses-contacts between Rodriguean and Platonic Characters such as Diotima and Dorotéia and even between Erixímaco, Freud and Nelson Rodrigues, showing not only the dramatic action of The banquet of Plato even a continuity of the history of ideas pointed out in the complementary opposition between healthy eros and pathologic one (Eurixímaco), as well in the dicotomy between Eros and Tanatos (Freud) or even when a female cat is brutally killed and gives birth to seven kittens (Nelson Rodrigues). Here is limited a reading of teatro desagradável like bitter medicine, according to a teleological approach, precisely, to punctuate the merits of the author to promote the awakening of the reader to conditioning that obliterate the happiness of the characters, among them the unsustainable ideal of love put in traditional terms. The tragicalness of love, taking into account the adequate proportions of social and psychological factors is this. It presents human being, automatically responsive, without the power to overcome the fundamental fear and selfishness, however protecting your desire of emptying, always renewing willingness to fight for one more second of eternity. Thus, to the point of feeling threatened again, and in this tension, find it share of absolute and continuity.