Crítica e forma no jovem Lukács: contornos e limites da subjetividade em teoria do romance

• Ano de defesa: 2019
• Autor(a) principal: Mendes, Bruno Moretti Falcao [UNIFESP]
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de São Paulo (UNIFESP)
• Palavras-chave em Português: Lukács; Critic; Form; Ethic; Aesthetic; Crítica; Forma; Ética; Estética
• Link de acesso: https://sucupira.capes.gov.br/sucupira/public/consultas/coleta/trabalhoConclusao/viewTrabalhoConclusao.jsf?popup=true&id_trabalho=8268967; https://repositorio.unifesp.br/handle/11600/59496

In this research is sought to develop the paths to a philosophical reconstruction of the critic of the world through form in Theory of the Novel. It concerns a conceptual reflection for the literary forms’ analysis, situated over historical-philosophical soil, or in other words, concerns a philosophical theory on the modern novel as a life form; a life-form distinct from the ceased and prosaic life-form of the social structures’ age at capitalism. That is the aesthetic phenomenon’s particularity, the artwork that contains in its form a coherent and closed whole, which allows to comprehend the novel form as critical auto reflection on general human activity’s form at the present’s social experience. So, if the novel form is restrained to the substantial matters of life, our purpose is to rebuild the specificity of the critic of the world through form in Lukács, in the sense that the novel form presents a critical image of the world, a sense of absence’s index; for the aesthetic path can only reflexively reiterate an organic experience, although it can not grant effectiveness to anything. It concerns a form of life provided of aesthetic and ethical sense, however, we intend to show that the relation between ethic and aesthetic at the aesthetics’ particularity was already at Lukács’ critic even before Theory of the Novel, as for instance, in his text produced in 1910, entitled Ästhetische Kultur. Afterwards, our objective is to show how fundamental is the auto reflexive ironic displacement, through the author’s presence on the text, for Lukács’ contribution on bringing the form questions to the objectivity’s level. It becomes necessary, so, a debate to verify the boundaries of convergence and distinction between Lukács and the irony’s romantic statute, but, as an inflection move which tends to point towards Goethe’s Wilhelm Meister's Apprenticeship. The Bildungsroman, as an inflection of the critic’s fertile point, represents a formative synthesis on the relation between the soul and the world at the novel typologies’ frame elaborated by Lukács. Our position is that Goethe’s novel’s appropriation is the substantial register to place the novel as the ‘time spirit’s’ mature expression, obtaining the capability to reveal, through the form, essential life’s contents, the formative experience which tends to enlighten not only the weaknesses and limitations to the soul’s disposition on acting over the objective world, but as much the non essential and decaying character of that social life.