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História da Literatura Ocidental
A versão digital de A história da literatura ocidental reúne os quatro volumes em um, mas ainda preserva os índices individuais. No primeiro volume, o leitor encontrará rigorosa introdução, em que o autor expõe seu método de abordagem e sua práxis como historiador e crítico literário. Carpeaux, neste volume, vai buscar as origens da nossa literatura ocidental na Grécia antiga e no mundo romano, além de acrescentar os fundamentos cristãos e o papel do cristianismo na afirmação da nossa cultura e literatura. O leitor também encontrará o que o mestre chamou de A fundação da Europa e de suas literaturas e a época medieval. Também faz parte deste volume a transição entre a literatura da Idade Média e o Renascimento. No segundo volume, o autor faz a exegese do Barroco e do Classicismo no mundo ocidental. Aqui estão analisados a poesia, o teatro, a epopeia e o romance picaresco, entre outros temas e autores, como Cervantes, Góngora, Shakespeare e Molière. Ainda no segundo volume, continua o estudo do neobarroco, o Classicismo racionalista, o pré-romantismo, os enciclopedistas e o que chama de o Último Classicismo (Classicismo Alemão, Alfieri, Chénier, Jane Austen). O terceiro tomo refere-se à literatura do Romantismo até nossos dias. Um diversificado e denso estudo sobre as causas sociais e estéticas do Romantismo. Os grandes autores do período foram acuradamente estudados (um elenco incomparável e uma hermenêutica rigorosa). Nele também está incluído o nosso Romantismo com substancial contribuição para entendimento de autores brasileiros como José de Alencar, Castro Alves, Álvares de Azevedo e até mesmo o Machado de Assis da sua primeira fase, cunhada de romântica. Ainda neste terceiro volume, estão o realismo e o naturalismo e seu espírito de época. Balzac, Machado, Eça, Tolstoi, Zola, Dostoiévski, Melville, Baudelaire, e mais Aluísio Azevedo, Augusto dos Anjos, Graça Aranha e Mário de Andrade, entre tantos autores, aqui são estudados. No último e quarto volume, o leitor
6482 pages, ebook
First published January 1, 1959
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About the author
Otto Maria Carpeaux
80 books59 followersOtto Maria Carpeaux (March 9, 1900 – February 3, 1978), born Otto Karpfen, was a Brazilian literary critic born in Austria and multilingual scholar.
Carpeaux was born in 1900 in Vienna, Austria, to a Jewish family, and lived there until 1939. In the University of Vienna he studied exact sciences and received his PhD in chemistry with a work concerning the brain, and possibly also a degree in physics. Later he studied sociology and philosophy in Paris, comparative literature in Naples, politics in Berlin and, supposedly, mathematics in Leipzig.
At some point in his life, Karpfen converted to Christianity, adding the Maria to his name and using Fidelis as his surname for some time. This conversion was evident in his political books (such as Wege Nach Rom) and his thinking, and led to his participation in the right-wing government of Engelbert Dollfuss.
When the Anschluss occurred and the Nazis took over Vienna, Karpfen went to Belgium. He stayed there for about a year and then went to Brazil, where he changed his last name to Carpeaux. At first, he was given a simple rural job, but eventually, through newspapers, he became an established literary critic, introducing writers such as Franz Kafka and Robert Musil to Brazilian audiences, along with the literary criticism of Wilhelm Dilthey, Benedetto Croce, Walter Benjamin and others.
Perhaps the peak of Carpeaux's production was his eight-volume História da Literatura Ocidental (History of Western Literature), unfortunately available only in Portuguese. Late critic José Lino Grünewald labelled it one of the brightest moments of the language in prose, despite the fact that Carpeaux was not a native speaker. It was written over a period of two years with a limited amount of research; the author depended primarily on his memory.[citation needed:] It is also unique in that it focuses on creating links between all periods, in order to create an organic vision of the literary history he is telling. The book also include more than 8,000 brief criticisms and expositions of the majority of the figures discussed along the way, minus the ones cited in passing; all are dealt with in their original languages, both in expositions and quotations and in the bibliography offered. The total bibliographical amount of cited works is on the merge of 30,000 books or more.
After a transition to the Brazilian left, marked by his fight against the military dictatorship that came to power in 1964, Carpeaux abandoned his literary writings by 1968, although he participated in an encyclopedia called Mirador. He died of a heart attack in 1978.
Recently, his essays have been compiled by Brazilian philosopher Olavo de Carvalho, with an added introduction. Critic Mauro Souza Ventura released De Karpfen a Carpeaux, a study in the life and work of Carpeaux. Carpeaux's other works include a dense history of German literature, several books of literary criticism, a popular history of Western music and various political writings.
Carpeaux was born in 1900 in Vienna, Austria, to a Jewish family, and lived there until 1939. In the University of Vienna he studied exact sciences and received his PhD in chemistry with a work concerning the brain, and possibly also a degree in physics. Later he studied sociology and philosophy in Paris, comparative literature in Naples, politics in Berlin and, supposedly, mathematics in Leipzig.
At some point in his life, Karpfen converted to Christianity, adding the Maria to his name and using Fidelis as his surname for some time. This conversion was evident in his political books (such as Wege Nach Rom) and his thinking, and led to his participation in the right-wing government of Engelbert Dollfuss.
When the Anschluss occurred and the Nazis took over Vienna, Karpfen went to Belgium. He stayed there for about a year and then went to Brazil, where he changed his last name to Carpeaux. At first, he was given a simple rural job, but eventually, through newspapers, he became an established literary critic, introducing writers such as Franz Kafka and Robert Musil to Brazilian audiences, along with the literary criticism of Wilhelm Dilthey, Benedetto Croce, Walter Benjamin and others.
Perhaps the peak of Carpeaux's production was his eight-volume História da Literatura Ocidental (History of Western Literature), unfortunately available only in Portuguese. Late critic José Lino Grünewald labelled it one of the brightest moments of the language in prose, despite the fact that Carpeaux was not a native speaker. It was written over a period of two years with a limited amount of research; the author depended primarily on his memory.[citation needed:] It is also unique in that it focuses on creating links between all periods, in order to create an organic vision of the literary history he is telling. The book also include more than 8,000 brief criticisms and expositions of the majority of the figures discussed along the way, minus the ones cited in passing; all are dealt with in their original languages, both in expositions and quotations and in the bibliography offered. The total bibliographical amount of cited works is on the merge of 30,000 books or more.
After a transition to the Brazilian left, marked by his fight against the military dictatorship that came to power in 1964, Carpeaux abandoned his literary writings by 1968, although he participated in an encyclopedia called Mirador. He died of a heart attack in 1978.
Recently, his essays have been compiled by Brazilian philosopher Olavo de Carvalho, with an added introduction. Critic Mauro Souza Ventura released De Karpfen a Carpeaux, a study in the life and work of Carpeaux. Carpeaux's other works include a dense history of German literature, several books of literary criticism, a popular history of Western music and various political writings.
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October 30, 2013
Finalizei o trabalho monumental do Carpeaux. Destaco um comentário bastante agradável sobre Joyce:
“Do país dos sonhos, Joyce não cessou de completar o outro país, o nosso, observando-o com os olhos de outlaw, ou então para empregar um termo de Herzen, com independência absoluta, de quem está “na outra ribeira”. E, sendo Joyce antes de tudo um grande humorista, da estirpe de Rabelais e Cervantes, a cidade de Dublin, do dia 16 de junho de 1904, tornou-se caricatura grandiosa, daumieresca, de outra cidade: da ‘Cidade sem Deus’ do nosso tempo; e Ulysses, em que Joyce depositou todas as suas experiências e todos os seus conhecimentos enciclopédicos, de todas as línguas, literaturas, filosofias e ciências, tornou-se a ‘Suma apocalíptica da nossa época’. Joyce é o Dante anticatólico do século XX. Edmund Wilson chamou a atenção para a grandiosa poesia noturna das cenas no hospital e no bordel. Ulysses inteiro é um ‘Inferno’. No ‘Inferno’ (VII, 1) Dante introduziu algumas palavras incompreensíveis para imitar a língua estranha dos diabos; Joyce fez disso um recurso permanente; ele, que T.S Eliot chama de ‘o maior mestre da língua inglesa desde Milton’.” (CARPEAUX, p.2579-80)
“Do país dos sonhos, Joyce não cessou de completar o outro país, o nosso, observando-o com os olhos de outlaw, ou então para empregar um termo de Herzen, com independência absoluta, de quem está “na outra ribeira”. E, sendo Joyce antes de tudo um grande humorista, da estirpe de Rabelais e Cervantes, a cidade de Dublin, do dia 16 de junho de 1904, tornou-se caricatura grandiosa, daumieresca, de outra cidade: da ‘Cidade sem Deus’ do nosso tempo; e Ulysses, em que Joyce depositou todas as suas experiências e todos os seus conhecimentos enciclopédicos, de todas as línguas, literaturas, filosofias e ciências, tornou-se a ‘Suma apocalíptica da nossa época’. Joyce é o Dante anticatólico do século XX. Edmund Wilson chamou a atenção para a grandiosa poesia noturna das cenas no hospital e no bordel. Ulysses inteiro é um ‘Inferno’. No ‘Inferno’ (VII, 1) Dante introduziu algumas palavras incompreensíveis para imitar a língua estranha dos diabos; Joyce fez disso um recurso permanente; ele, que T.S Eliot chama de ‘o maior mestre da língua inglesa desde Milton’.” (CARPEAUX, p.2579-80)
July 11, 2020
Li com afinco e denodo, marcando os livros que haveria de ler e traçando projetos de leitura. Tendo aprendido as línguas dos originais e aprofundando-me na leitura dos livros e das respectivas fortunas críticas, me desapontei com o Carpeaux. Em sua história muito aparece de arbitrário, frouxo e (paradoxalmente) anacrônico. Muito me valeu em outros tempos mas não recomendaria hoje.
Displaying 1 - 2 of 2 reviews